{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026page=154","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026page=153","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026page=155","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026page=211"},"meta":{"pages":{"current_page":154,"next_page":155,"prev_page":153,"total_pages":211,"limit_value":10,"offset_value":1530,"total_count":2108,"first_page?":false,"last_page?":false}},"data":[{"id":"3b651bebb556d00cec8728df_aspace_cac7f56d39cfe2eba75c3fd0e4c30427","type":"File","attributes":{"title":"Phi Beta Kappa Society, May 2, 1923-April 7, 1931","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/3b651bebb556d00cec8728df_aspace_cac7f56d39cfe2eba75c3fd0e4c30427#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_cac7f56d39cfe2eba75c3fd0e4c30427","ref_ssm":["aspace_cac7f56d39cfe2eba75c3fd0e4c30427","aspace_cac7f56d39cfe2eba75c3fd0e4c30427"],"id":"3b651bebb556d00cec8728df_aspace_cac7f56d39cfe2eba75c3fd0e4c30427","title_filing_ssi":"Phi Beta Kappa Society","title_ssm":["Phi Beta Kappa Society"],"title_tesim":["Phi Beta Kappa Society"],"unitdate_inclusive_ssm":["May 2, 1923-April 7, 1931"],"normalized_date_ssm":["May 2, 1923-April 7, 1931"],"normalized_title_ssm":["Phi Beta Kappa Society, May 2, 1923-April 7, 1931"],"text":["Phi Beta Kappa Society, May 2, 1923-April 7, 1931","Walter and Dorothy Donnelly family papers, 1887-2021","Additional Materials, 1909-2021","CFM2020_10, 1917-1994, Undated","Folder 1","/repositories/4/archival_objects/56112","box 12","folder 1"],"component_level_isim":[3],"parent_ids_ssim":["3b651bebb556d00cec8728df","3b651bebb556d00cec8728df_aspace_f58acf1e5bb3c4c23984bca2eb8d71a6","3b651bebb556d00cec8728df_aspace_41d476757a6af37e0a78b8ce8959bca0"],"parent_unittitles_ssm":["Walter and Dorothy Donnelly family papers, 1887-2021","Additional Materials, 1909-2021","CFM2020_10, 1917-1994, Undated"],"parent_unittitles_tesim":["Walter and Dorothy Donnelly family papers, 1887-2021","Additional Materials, 1909-2021","CFM2020_10, 1917-1994, Undated"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["Folder 1","/repositories/4/archival_objects/56112"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Walter and Dorothy Donnelly family papers, 1887-2021"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":211,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished records are protected by copyright. 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After living in Greenwich Village and Paris, he returned to Ann Arbor to accept a position at the University of Michigan editing Museum Publications as well as doing editorial work for the Press.","\nThe Donnelly's had a keen interest in the printing arts. Collected materials include examples from the best paper-makers, type designers, typographers, book binders, and printers as well as those artists involved in book illustrations. Notable in the collection are numerous publications of The Typophiles, a small group of graphic arts professionals based in New York, including luminaries like Bruce Rogers and Frederic W. Goudy. The Typophiles, who began meeting around 1932, are still meeting and publishing today.","Collection processed by Nadine Helm and Elizabeth Konzak; finding aid created by Nadine Helm and Elizabeth Konzak. The materials were organized and foldered. Some materials have water damage and were freeze dried in August 2006. Ria Heising and Suphi Burak Ogreten added addional materials received from Jerome Donnelly in 2021.  Ria Heising and Suphi Burak Ogreten added addional materials received from Jerome Donnelly in 2021. Addition processed and finding aid updated by Amelia Cuttle in 2023.","Patrick Boland collection , Special Collections \u0026 University Archives, University of Central Florida Libraries, Orlando, Florida.","The collection is arranged in three series, Family Papers, Typophiles and Additional Materials. ","Series I, Family Papers, 1887-1979, Undated, contains family photographs, memorabilia, poetry, and collected information on printers, printing and typography.","\nSeries II, Typophiles, 1941-1969, Undated, consists of materials collected by the Donnellys as members of the organization of printers, typographers and appreciators of bookmaking. Materials include Chap Book Commentaries, fine press published information about the typophiles as a group, similar to an organizational newsletter that includes a colophon. Keepsakes were items created for an event such as Christmas to exhibit typographic skills. The Monographs are small examples of printing that exemplify the best of design, typography, and technique. "," \nSeries III, Additional Materials, 1909-2021, Undated, consists of seven boxes of card catalogs Walter and Dorothy Donnelly created to keep track of their inventory of the book collection. Various incoming and outgoing letters to the Donnellys, newspaper clippings, articles, poetry, and unpublished and published writings by the Donnellys can be found in the series. The personal books of Dorothy Donnelly, including her daily missal and reading and diary journals, are also featured.","Books donated with the Walter and Dorothy Donnelly Family Papers have been cataloged individually. 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A majority of the materials are about typography and typophiles, including monographs and chap books.","UCF Special Collections","Donnelly, Walter","Donnelly, Dorothy, 1903-1994","English"],"unitid_tesim":["SC.33","/repositories/4/resources/35"],"normalized_date_ssm":["1887-2021"],"normalized_title_ssm":["Walter and Dorothy Donnelly family papers, 1887-2021"],"collection_title_tesim":["Walter and Dorothy Donnelly family papers, 1887-2021"],"collection_ssim":["Walter and Dorothy Donnelly family papers, 1887-2021"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"creator_ssm":["Donnelly, Walter","Donnelly, Dorothy, 1903-1994"],"creator_ssim":["Donnelly, Walter","Donnelly, Dorothy, 1903-1994"],"creator_persname_ssim":["Donnelly, Walter","Donnelly, Dorothy, 1903-1994"],"creators_ssim":["Donnelly, Walter","Donnelly, Dorothy, 1903-1994"],"access_terms_ssm":["Unpublished records are protected by copyright. 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Walter (1900-1981) was Editor of the University of Michigan Press when he retired in 1970. Dorothy (1903-1994) was an award-winning poet. They have three sons, Jerome, Stephen, and Denis.\u003c/p\u003e\n","\u003cp\u003e\nIn 1931 Dorothy and Walter were married, Dorothy completed her Master's Degree from the University of Michigan, and she won the Avery Hopwood Contest. The $1,500 prize enabled the couple to live in France and Italy for a time. Dorothy wrote several acclaimed books of poetry as well as numerous articles for the magazine transition (always spelled in the lower case), publishing work by writers such as Hart Crane, Ernest Hemingway and Carl Jung. 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Dorothy wrote several acclaimed books of poetry as well as numerous articles for the magazine transition (always spelled in the lower case), publishing work by writers such as Hart Crane, Ernest Hemingway and Carl Jung. Eugene Jolas, the French editor of transition, wrote Dorothy in 1931, \"You are the only one in America whose writing seems to me to be going in the right direction.\"","\nWalter also published some poetry and wrote plays with playwright and screenwriter Paul Osborn when the two were in college at the University of Michigan. After living in Greenwich Village and Paris, he returned to Ann Arbor to accept a position at the University of Michigan editing Museum Publications as well as doing editorial work for the Press.","\nThe Donnelly's had a keen interest in the printing arts. Collected materials include examples from the best paper-makers, type designers, typographers, book binders, and printers as well as those artists involved in book illustrations. Notable in the collection are numerous publications of The Typophiles, a small group of graphic arts professionals based in New York, including luminaries like Bruce Rogers and Frederic W. Goudy. The Typophiles, who began meeting around 1932, are still meeting and publishing today."],"prefercite_html_tesm":["\u003cp\u003eWalter and Dorothy Donnelly Family Papers, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Walter and Dorothy Donnelly Family Papers, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Nadine Helm and Elizabeth Konzak; finding aid created by Nadine Helm and Elizabeth Konzak. The materials were organized and foldered. Some materials have water damage and were freeze dried in August 2006. Ria Heising and Suphi Burak Ogreten added addional materials received from Jerome Donnelly in 2021.  Ria Heising and Suphi Burak Ogreten added addional materials received from Jerome Donnelly in 2021. Addition processed and finding aid updated by Amelia Cuttle in 2023.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Nadine Helm and Elizabeth Konzak; finding aid created by Nadine Helm and Elizabeth Konzak. The materials were organized and foldered. Some materials have water damage and were freeze dried in August 2006. Ria Heising and Suphi Burak Ogreten added addional materials received from Jerome Donnelly in 2021.  Ria Heising and Suphi Burak Ogreten added addional materials received from Jerome Donnelly in 2021. Addition processed and finding aid updated by Amelia Cuttle in 2023."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003cextref href=\"https://scua.library.ucf.edu/repositories/4/resources/289\"\u003ePatrick Boland collection\u003c/extref\u003e, Special Collections \u0026amp; University Archives, University of Central Florida Libraries, Orlando, Florida.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Patrick Boland collection , Special Collections \u0026 University Archives, University of Central Florida Libraries, Orlando, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThe collection is arranged in three series, Family Papers, Typophiles and Additional Materials. \u003c/p\u003e\n","\u003cp\u003eSeries I, Family Papers, 1887-1979, Undated, contains family photographs, memorabilia, poetry, and collected information on printers, printing and typography.\u003c/p\u003e\n","\u003cp\u003e\nSeries II, Typophiles, 1941-1969, Undated, consists of materials collected by the Donnellys as members of the organization of printers, typographers and appreciators of bookmaking. Materials include Chap Book Commentaries, fine press published information about the typophiles as a group, similar to an organizational newsletter that includes a colophon. Keepsakes were items created for an event such as Christmas to exhibit typographic skills. The Monographs are small examples of printing that exemplify the best of design, typography, and technique. \u003c/p\u003e\n","\u003cp\u003e \nSeries III, Additional Materials, 1909-2021, Undated, consists of seven boxes of card catalogs Walter and Dorothy Donnelly created to keep track of their inventory of the book collection. Various incoming and outgoing letters to the Donnellys, newspaper clippings, articles, poetry, and unpublished and published writings by the Donnellys can be found in the series. 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Please search the Library Catalog using the series Walter and Dorothy Donnelly Collection.\u003c/p\u003e\n","\u003cp\u003eThe papers of Patrick Boland were separated into their own collection.\u0026#xA0;\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Books donated with the Walter and Dorothy Donnelly Family Papers have been cataloged individually. Please search the Library Catalog using the series Walter and Dorothy Donnelly Collection.","The papers of Patrick Boland were separated into their own collection. "],"userestrict_html_tesm":["\u003cp\u003eUnpublished records 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 records 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_58a62762084b860db899b0bb6eea27dd\" label=\"Abstract\"\u003eThe materials show the Donnellys' diverse and far-reaching interests, primarily in the humanities. A majority of the materials are about typography and typophiles, including monographs and chap books.\u003c/abstract\u003e"],"abstract_tesim":["The materials show the Donnellys' diverse and far-reaching interests, primarily in the humanities. 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Researchers must obtain separate permission from the copyright holders of material held within University Archives collections for which the institution does not hold copyright.","FSU Special Collections \u0026 Archives","Florida Female College","Florida State College for Women","University of Florida","Florida State University Libraries. 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His memoir is about his experience from when he volunteered for the service in 1943 from Jacksonville, Florida to 1965 when he married a U.S. Navy widow.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2c830a7dfd368a2c9a9f23d2#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"2c830a7dfd368a2c9a9f23d2","title_filing_ssi":"May, Philip Stockton memoir","title_ssm":["Philip Stockton May memoir"],"title_tesim":["Philip Stockton May memoir"],"ead_ssi":"2c830a7dfd368a2c9a9f23d2","unitdate_ssm":["1925-1965","1943-1948","Date acquired: 2018-07-02"],"unitdate_bulk_ssim":["1943-1948"],"unitdate_inclusive_ssm":["1925-1965"],"unitdate_other_ssim":["Date acquired: 2018-07-02"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["18.0023","/repositories/10/resources/269"],"text":["18.0023","/repositories/10/resources/269","Philip Stockton May memoir, 1925-1965, Date acquired: 2018-07-02, bulk 1943-1948","Ft. Benning (Georgia)","Cheltenham, England","United States. Army. Infantry Division, 87th","World War, 1939-1945","World War, 1939-1945--Europe","Ardennes, Battle of the, 1944-1945","Operation Neptune","Hürtgen Forest, Battle of, Germany, 1944","This collection is open to all researchers.","\tPhilip Stockton May was born in 1925 and grew up in Avondale near Jacksonville, Florida. \n    \n    \n    \n   \n    \n    \n    \n    He graduated from Robert E. Lee Senior High School in 1943. He volunteered for the service in September 1943 and was sent Camp Blanding, FL, Ft. Benning, GA and Ft. Jackson, SC for basic training. In 1943, he was bussed to Camp Blanding and had hoped to join the Navy V-12 program but was not accepted. Instead, he was offered the Army Specialized Training Program (ASTP).  Then he was sent Ft. Benning for Infantry School and basic training. In 1944, the Army was phasing out the ASTP, so he chose the Infantry. May ended up with the 87th Infantry over in Europe. In August of 1944, he was sent to Ft. Mead and then shortly after that sent to the Hudson River piers and boarded the British steamship Mauritania II. His voyage took him to Liverpool, England.  From there, the service men were trucked to a replacement camp near the town of Cheltenham for further training.  From there they were sent to Dover and boarded a Landing Craft Infantry (LCI) to cross the English Channel to Omaha Beach. There was much debris from the earlier landing in June that still littered the beach.  When they reached the headquarters of the 18th Infantry Regiment of the Division, they were assigned to other companies as replacements and sent to forward positions in the Hurtgen Forest. When he was over in Europe, the Germans sent a barrage of 88 shells and May was hit by shell fragment through his right thigh, he was taken to a nearby field hospital. He was in six or seven different hospitals and had about 35 surgical procedures done on his leg. Sometime in December he transferred to an American hospital in Paris, then in January was flown to a hospital near Oxford, England.  He was then shipped on the Queen Elizabeth ship to the United States. He arrived in New York on April 12, 1945, the day Franklin D. Roosevelt (FDR) passed away, and then was sent by train to Finney General Hospital, outside of Thomasville, Georgia.  While he was at Finney General Hospital, Helen Keller visited the hospital and chatted with May. In December 1945 he was sent to Oliver General Hospital in Augusta, Georgia. In December 1946 he was well enough to go home for Christmas. In Spring of 1947, he had one last major operation on his wounded leg. In January 1948 he was discharge from the hospital and the Army.\n     While he was at Finney General Hospital, Helen Keller visited the hospital and chatted with May. In Spring of 1947, he had his last major operation on his wounded leg. In January 1948, he was discharged from the hospital and the Army.","He attended Princeton College in the Fall of 1948 and graduated in 1952. After college, he worked with Macmillan Publishing company in their textbook division. In 1957, he started working for Johnson Lane Space \u0026 Co., an investment firm. In 1980, he switched careers one last time and worked for Mumford Library Books in Jacksonville, Florida.\n    May later met his wife, Gloria Binzel Sullivan, who was a Navy pilot's widow with three children. The were married on May 1, 1965, and had one son together. The couple later retired to the Ortega Yacht Club condiminums and enjoyed traveling. ","May's obituary can be found at https://www.legacy.com/obituaries/timesunion/obituary.aspx?n=phil-may\u0026pid=191374378\u0026fhid=12958. ","This collection was donated by Philip Stockton May. 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He volunteered for the service in September 1943 and was sent Camp Blanding, FL, Ft. Benning, GA and Ft. Jackson, SC for basic training. In 1943, he was bussed to Camp Blanding and had hoped to join the Navy V-12 program but was not accepted. Instead, he was offered the Army Specialized Training Program (ASTP).  Then he was sent Ft. Benning for Infantry School and basic training. In 1944, the Army was phasing out the ASTP, so he chose the Infantry. May ended up with the 87th Infantry over in Europe. In August of 1944, he was sent to Ft. Mead and then shortly after that sent to the Hudson River piers and boarded the British steamship Mauritania II. His voyage took him to Liverpool, England.  From there, the service men were trucked to a replacement camp near the town of Cheltenham for further training.  From there they were sent to Dover and boarded a Landing Craft Infantry (LCI) to cross the English Channel to Omaha Beach. There was much debris from the earlier landing in June that still littered the beach.  When they reached the headquarters of the 18th Infantry Regiment of the Division, they were assigned to other companies as replacements and sent to forward positions in the Hurtgen Forest. When he was over in Europe, the Germans sent a barrage of 88 shells and May was hit by shell fragment through his right thigh, he was taken to a nearby field hospital. He was in six or seven different hospitals and had about 35 surgical procedures done on his leg. Sometime in December he transferred to an American hospital in Paris, then in January was flown to a hospital near Oxford, England.  He was then shipped on the Queen Elizabeth ship to the United States. He arrived in New York on April 12, 1945, the day Franklin D. Roosevelt (FDR) passed away, and then was sent by train to Finney General Hospital, outside of Thomasville, Georgia.  While he was at Finney General Hospital, Helen Keller visited the hospital and chatted with May. In December 1945 he was sent to Oliver General Hospital in Augusta, Georgia. In December 1946 he was well enough to go home for Christmas. In Spring of 1947, he had one last major operation on his wounded leg. In January 1948 he was discharge from the hospital and the Army.\n    \u0026#xA0;While he was at Finney General Hospital, Helen Keller visited the hospital and chatted with May. In Spring of 1947, he had his last major operation on his wounded leg. In January 1948, he was discharged from the hospital and the Army.\u003c/p\u003e\n","\u003cp\u003eHe attended Princeton College in the Fall of 1948 and graduated in 1952. After college, he worked with Macmillan Publishing company in their textbook division. In 1957, he started working for Johnson Lane Space \u0026amp; Co., an investment firm. 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When they reached the headquarters of the 18th Infantry Regiment of the Division, they were assigned to other companies as replacements and sent to forward positions in the Hurtgen Forest. When he was over in Europe, the Germans sent a barrage of 88 shells and May was hit by shell fragment through his right thigh, he was taken to a nearby field hospital. He was in six or seven different hospitals and had about 35 surgical procedures done on his leg. Sometime in December he transferred to an American hospital in Paris, then in January was flown to a hospital near Oxford, England.  He was then shipped on the Queen Elizabeth ship to the United States. He arrived in New York on April 12, 1945, the day Franklin D. Roosevelt (FDR) passed away, and then was sent by train to Finney General Hospital, outside of Thomasville, Georgia.  While he was at Finney General Hospital, Helen Keller visited the hospital and chatted with May. 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The were married on May 1, 1965, and had one son together. The couple later retired to the Ortega Yacht Club condiminums and enjoyed traveling. ","May's obituary can be found at https://www.legacy.com/obituaries/timesunion/obituary.aspx?n=phil-may\u0026pid=191374378\u0026fhid=12958. "],"custodhist_html_tesm":["\u003cp\u003eThis collection was donated by Philip Stockton May. The collection was acquired by the Institute on World War II and the Human Experience on July 12, 2018.\u003c/p\u003e","\u003cp\u003eTransferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026amp; Archives in July 2022.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History","Custodial History"],"custodhist_tesim":["This collection was donated by Philip Stockton May. 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Benning (Georgia)","Cheltenham, England","United States. Army. Infantry Division, 87th","World War, 1939-1945","World War, 1939-1945--Europe","Ardennes, Battle of the, 1944-1945","Operation Neptune","Hürtgen Forest, Battle of, Germany, 1944","This collection is open to all researchers.","\tPhilip Stockton May was born in 1925 and grew up in Avondale near Jacksonville, Florida. \n    \n    \n    \n   \n    \n    \n    \n    He graduated from Robert E. Lee Senior High School in 1943. He volunteered for the service in September 1943 and was sent Camp Blanding, FL, Ft. Benning, GA and Ft. Jackson, SC for basic training. In 1943, he was bussed to Camp Blanding and had hoped to join the Navy V-12 program but was not accepted. Instead, he was offered the Army Specialized Training Program (ASTP).  Then he was sent Ft. Benning for Infantry School and basic training. In 1944, the Army was phasing out the ASTP, so he chose the Infantry. May ended up with the 87th Infantry over in Europe. In August of 1944, he was sent to Ft. Mead and then shortly after that sent to the Hudson River piers and boarded the British steamship Mauritania II. His voyage took him to Liverpool, England.  From there, the service men were trucked to a replacement camp near the town of Cheltenham for further training.  From there they were sent to Dover and boarded a Landing Craft Infantry (LCI) to cross the English Channel to Omaha Beach. There was much debris from the earlier landing in June that still littered the beach.  When they reached the headquarters of the 18th Infantry Regiment of the Division, they were assigned to other companies as replacements and sent to forward positions in the Hurtgen Forest. When he was over in Europe, the Germans sent a barrage of 88 shells and May was hit by shell fragment through his right thigh, he was taken to a nearby field hospital. He was in six or seven different hospitals and had about 35 surgical procedures done on his leg. Sometime in December he transferred to an American hospital in Paris, then in January was flown to a hospital near Oxford, England.  He was then shipped on the Queen Elizabeth ship to the United States. He arrived in New York on April 12, 1945, the day Franklin D. Roosevelt (FDR) passed away, and then was sent by train to Finney General Hospital, outside of Thomasville, Georgia.  While he was at Finney General Hospital, Helen Keller visited the hospital and chatted with May. In December 1945 he was sent to Oliver General Hospital in Augusta, Georgia. In December 1946 he was well enough to go home for Christmas. In Spring of 1947, he had one last major operation on his wounded leg. In January 1948 he was discharge from the hospital and the Army.\n     While he was at Finney General Hospital, Helen Keller visited the hospital and chatted with May. In Spring of 1947, he had his last major operation on his wounded leg. In January 1948, he was discharged from the hospital and the Army.","He attended Princeton College in the Fall of 1948 and graduated in 1952. After college, he worked with Macmillan Publishing company in their textbook division. In 1957, he started working for Johnson Lane Space \u0026 Co., an investment firm. In 1980, he switched careers one last time and worked for Mumford Library Books in Jacksonville, Florida.\n    May later met his wife, Gloria Binzel Sullivan, who was a Navy pilot's widow with three children. The were married on May 1, 1965, and had one son together. The couple later retired to the Ortega Yacht Club condiminums and enjoyed traveling. ","May's obituary can be found at https://www.legacy.com/obituaries/timesunion/obituary.aspx?n=phil-may\u0026pid=191374378\u0026fhid=12958. ","This collection was donated by Philip Stockton May. The collection was acquired by the Institute on World War II and the Human Experience on July 12, 2018.","Transferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026 Archives in July 2022.","The collection of Philip Stockton May contains a nine-page memoir. His memoir is about his experience from when he volunteered for the service in 1943 from Jacksonville, Florida to 1965 when he married a U.S. Navy widow.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","FSU Special Collections \u0026 Archives","Camp Blanding (Fla.)","United States. Army. European Theater of Operations","May, Philip Stockton","English"],"unitid_tesim":["18.0023","/repositories/10/resources/269"],"normalized_date_ssm":["1925-1965, Date acquired: 2018-07-02, bulk 1943-1948"],"normalized_title_ssm":["Philip Stockton May memoir, 1925-1965, Date acquired: 2018-07-02, bulk 1943-1948"],"collection_title_tesim":["Philip Stockton May memoir, 1925-1965, Date acquired: 2018-07-02, bulk 1943-1948"],"collection_ssim":["Philip Stockton May memoir, 1925-1965, Date acquired: 2018-07-02, bulk 1943-1948"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"geogname_ssm":["Ft. Benning (Georgia)","Cheltenham, England"],"geogname_ssim":["Ft. Benning (Georgia)","Cheltenham, England"],"creator_ssm":["May, Philip Stockton","May, Philip Stockton"],"creator_ssim":["May, Philip Stockton","May, Philip Stockton"],"creator_persname_ssim":["May, Philip Stockton","May, Philip Stockton"],"creators_ssim":["May, Philip Stockton","May, Philip Stockton"],"places_ssim":["Ft. Benning (Georgia)","Cheltenham, England"],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"access_subjects_ssim":["United States. Army. Infantry Division, 87th","World War, 1939-1945","World War, 1939-1945--Europe","Ardennes, Battle of the, 1944-1945","Operation Neptune","Hürtgen Forest, Battle of, Germany, 1944"],"access_subjects_ssm":["United States. Army. Infantry Division, 87th","World War, 1939-1945","World War, 1939-1945--Europe","Ardennes, Battle of the, 1944-1945","Operation Neptune","Hürtgen Forest, Battle of, Germany, 1944"],"has_online_content_ssim":["false"],"extent_ssm":["1 folders"],"extent_tesim":["1 folders"],"date_range_isim":[1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,2018],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers."],"bioghist_html_tesm":["\u003cp\u003e\tPhilip Stockton May was born in 1925 and grew up in Avondale near Jacksonville, Florida. \n    \n    \n    \n   \n    \n    \n    \n    He graduated from Robert E. Lee Senior High School in 1943. He volunteered for the service in September 1943 and was sent Camp Blanding, FL, Ft. Benning, GA and Ft. Jackson, SC for basic training. In 1943, he was bussed to Camp Blanding and had hoped to join the Navy V-12 program but was not accepted. Instead, he was offered the Army Specialized Training Program (ASTP).  Then he was sent Ft. Benning for Infantry School and basic training. In 1944, the Army was phasing out the ASTP, so he chose the Infantry. May ended up with the 87th Infantry over in Europe. In August of 1944, he was sent to Ft. Mead and then shortly after that sent to the Hudson River piers and boarded the British steamship Mauritania II. His voyage took him to Liverpool, England.  From there, the service men were trucked to a replacement camp near the town of Cheltenham for further training.  From there they were sent to Dover and boarded a Landing Craft Infantry (LCI) to cross the English Channel to Omaha Beach. There was much debris from the earlier landing in June that still littered the beach.  When they reached the headquarters of the 18th Infantry Regiment of the Division, they were assigned to other companies as replacements and sent to forward positions in the Hurtgen Forest. When he was over in Europe, the Germans sent a barrage of 88 shells and May was hit by shell fragment through his right thigh, he was taken to a nearby field hospital. He was in six or seven different hospitals and had about 35 surgical procedures done on his leg. Sometime in December he transferred to an American hospital in Paris, then in January was flown to a hospital near Oxford, England.  He was then shipped on the Queen Elizabeth ship to the United States. He arrived in New York on April 12, 1945, the day Franklin D. Roosevelt (FDR) passed away, and then was sent by train to Finney General Hospital, outside of Thomasville, Georgia.  While he was at Finney General Hospital, Helen Keller visited the hospital and chatted with May. In December 1945 he was sent to Oliver General Hospital in Augusta, Georgia. In December 1946 he was well enough to go home for Christmas. In Spring of 1947, he had one last major operation on his wounded leg. In January 1948 he was discharge from the hospital and the Army.\n    \u0026#xA0;While he was at Finney General Hospital, Helen Keller visited the hospital and chatted with May. In Spring of 1947, he had his last major operation on his wounded leg. In January 1948, he was discharged from the hospital and the Army.\u003c/p\u003e\n","\u003cp\u003eHe attended Princeton College in the Fall of 1948 and graduated in 1952. After college, he worked with Macmillan Publishing company in their textbook division. In 1957, he started working for Johnson Lane Space \u0026amp; Co., an investment firm. In 1980, he switched careers one last time and worked for Mumford Library Books in Jacksonville, Florida.\n    May later met his wife, Gloria Binzel Sullivan, who was a Navy pilot's widow with three children. The were married on May 1, 1965, and had one son together. The couple later retired to the Ortega Yacht Club condiminums and enjoyed traveling. \u003c/p\u003e\n","\u003cp\u003eMay's obituary can be found at https://www.legacy.com/obituaries/timesunion/obituary.aspx?n=phil-may\u0026amp;pid=191374378\u0026amp;fhid=12958. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["\tPhilip Stockton May was born in 1925 and grew up in Avondale near Jacksonville, Florida. \n    \n    \n    \n   \n    \n    \n    \n    He graduated from Robert E. Lee Senior High School in 1943. He volunteered for the service in September 1943 and was sent Camp Blanding, FL, Ft. Benning, GA and Ft. Jackson, SC for basic training. In 1943, he was bussed to Camp Blanding and had hoped to join the Navy V-12 program but was not accepted. Instead, he was offered the Army Specialized Training Program (ASTP).  Then he was sent Ft. Benning for Infantry School and basic training. In 1944, the Army was phasing out the ASTP, so he chose the Infantry. May ended up with the 87th Infantry over in Europe. In August of 1944, he was sent to Ft. Mead and then shortly after that sent to the Hudson River piers and boarded the British steamship Mauritania II. His voyage took him to Liverpool, England.  From there, the service men were trucked to a replacement camp near the town of Cheltenham for further training.  From there they were sent to Dover and boarded a Landing Craft Infantry (LCI) to cross the English Channel to Omaha Beach. There was much debris from the earlier landing in June that still littered the beach.  When they reached the headquarters of the 18th Infantry Regiment of the Division, they were assigned to other companies as replacements and sent to forward positions in the Hurtgen Forest. When he was over in Europe, the Germans sent a barrage of 88 shells and May was hit by shell fragment through his right thigh, he was taken to a nearby field hospital. He was in six or seven different hospitals and had about 35 surgical procedures done on his leg. Sometime in December he transferred to an American hospital in Paris, then in January was flown to a hospital near Oxford, England.  He was then shipped on the Queen Elizabeth ship to the United States. He arrived in New York on April 12, 1945, the day Franklin D. Roosevelt (FDR) passed away, and then was sent by train to Finney General Hospital, outside of Thomasville, Georgia.  While he was at Finney General Hospital, Helen Keller visited the hospital and chatted with May. In December 1945 he was sent to Oliver General Hospital in Augusta, Georgia. In December 1946 he was well enough to go home for Christmas. In Spring of 1947, he had one last major operation on his wounded leg. In January 1948 he was discharge from the hospital and the Army.\n     While he was at Finney General Hospital, Helen Keller visited the hospital and chatted with May. In Spring of 1947, he had his last major operation on his wounded leg. In January 1948, he was discharged from the hospital and the Army.","He attended Princeton College in the Fall of 1948 and graduated in 1952. After college, he worked with Macmillan Publishing company in their textbook division. In 1957, he started working for Johnson Lane Space \u0026 Co., an investment firm. In 1980, he switched careers one last time and worked for Mumford Library Books in Jacksonville, Florida.\n    May later met his wife, Gloria Binzel Sullivan, who was a Navy pilot's widow with three children. The were married on May 1, 1965, and had one son together. The couple later retired to the Ortega Yacht Club condiminums and enjoyed traveling. ","May's obituary can be found at https://www.legacy.com/obituaries/timesunion/obituary.aspx?n=phil-may\u0026pid=191374378\u0026fhid=12958. "],"custodhist_html_tesm":["\u003cp\u003eThis collection was donated by Philip Stockton May. The collection was acquired by the Institute on World War II and the Human Experience on July 12, 2018.\u003c/p\u003e","\u003cp\u003eTransferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026amp; Archives in July 2022.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History","Custodial History"],"custodhist_tesim":["This collection was donated by Philip Stockton May. The collection was acquired by the Institute on World War II and the Human Experience on July 12, 2018.","Transferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026 Archives in July 2022."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], [Box and Folder number], Philip Stockton May memoir, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/WWII_18_0023\"\u003ehttp://purl.fcla.edu/fsu/WWII_18_0023\u003c/extref\u003e.\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], [Box and Folder number], Philip Stockton May memoir, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/WWII_18_0023 ."],"scopecontent_html_tesm":["\u003cp\u003eThe collection of Philip Stockton May contains a nine-page memoir. His memoir is about his experience from when he volunteered for the service in 1943 from Jacksonville, Florida to 1965 when he married a U.S. Navy widow.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection of Philip Stockton May contains a nine-page memoir. His memoir is about his experience from when he volunteered for the service in 1943 from Jacksonville, Florida to 1965 when he married a U.S. Navy widow."],"userestrict_html_tesm":["\u003cp\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026amp; Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"names_coll_ssim":["Camp Blanding (Fla.)","United States. Army. European Theater of Operations","May, Philip Stockton"],"names_ssim":["FSU Special Collections \u0026 Archives","Camp Blanding (Fla.)","United States. Army. European Theater of Operations","May, Philip Stockton"],"corpname_ssim":["FSU Special Collections \u0026 Archives","Camp Blanding (Fla.)","United States. Army. European Theater of Operations"],"persname_ssim":["May, Philip Stockton"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"2c830a7dfd368a2c9a9f23d2","timestamp":"2026-07-11T06:19:24.707Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2c830a7dfd368a2c9a9f23d2"}},{"id":"0ec4c27d52a43b44b4ff6f88","type":"collection","attributes":{"title":"Phillip Weidling Collection, Circa 1912-1976","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/0ec4c27d52a43b44b4ff6f88#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe Phillip Weidling Collection contains 91 photographs, negatives, and papers that belonged to the Weilding family of Fort Lauderdale, Florida. The photographs document the early airfields and aviators of Broward County, the early history of Port Everglades, the development of the city of Sunrise in the 1950s, boats, and golfing during the 1910s-1920s.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/0ec4c27d52a43b44b4ff6f88#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"0ec4c27d52a43b44b4ff6f88","title_filing_ssi":"Weidling, Phillip Collection","title_ssm":["Phillip Weidling Collection"],"title_tesim":["Phillip Weidling Collection"],"ead_ssi":"0ec4c27d52a43b44b4ff6f88","unitdate_ssm":["Circa 1912-1976"],"unitdate_inclusive_ssm":["Circa 1912-1976"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["BCHA.1983.7","/repositories/4/resources/259"],"text":["BCHA.1983.7","/repositories/4/resources/259","Phillip Weidling Collection, Circa 1912-1976","Fort Lauderdale (Fla.)","Photographs","Phillip Weidling Collection is open for research.","Phillip Weidling was a local historian and author who lived in Fort Lauderdale, Florida from 1912 to 1980. He was born in Ohio in 1905 and moved to Fort Lauerdale in 1912 at age 7. He graduated from Fort Lauderdale High School. He was a newspaper reporter in Fort Lauderdale. He authored the book \"Dreams My Bartender Taught Me: and other stories of old Fort Lauderdale\" in 1989 and the 1963 children's book \"Secret of the old bridge.\" He also co-authored the book \"Checkered Sunshine: the story of Fort Lauderdale 1793-1955\" with August Burghard in 1974. Weidling died in 1995.","Phillip Weidling's father was Carl P. Weidling, an attorney from Tiffin, Ohio. Carl Weidling served as a state representative in 1923, 1925, and 1926. He also developed the first golf course in Fort Lauderdale (now the site of Fort Lauderdale-Hollywood International Airport), and developed much of the island properties in Fort Lauderdale. He was also owner and president of the Fort Lauderdale Herald. In 1944 he married Mrs. Glen E. Dewey, who was the chairman for the Board of the Chicago Women's District Golf Association for nine years prior to moving to Fort Lauderdale.","This collection received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","See Oral History (OH 1086) for oral history interview with Phillip Weidling.","The Phillip Weidling Collection contains 91 photographs, negatives, and papers that belonged to the Weilding family of Fort Lauderdale, Florida. The photographs document the early airfields and aviators of Broward County, the early history of Port Everglades, the development of the city of Sunrise in the 1950s, boats, and golfing during the 1910s-1920s."," Broward County Historical Archives","English"],"unitid_tesim":["BCHA.1983.7","/repositories/4/resources/259"],"normalized_date_ssm":["Circa 1912-1976"],"normalized_title_ssm":["Phillip Weidling Collection, Circa 1912-1976"],"collection_title_tesim":["Phillip Weidling Collection, Circa 1912-1976"],"collection_ssim":["Phillip Weidling Collection, Circa 1912-1976"],"repository_ssm":["Broward County Historical Archives"],"repository_ssim":["Broward County Historical Archives"],"geogname_ssm":["Fort Lauderdale (Fla.)"],"geogname_ssim":["Fort Lauderdale (Fla.)"],"places_ssim":["Fort Lauderdale (Fla.)"],"acqinfo_ssim":["Phillip Weidling donated the materials to the Broward County Historical Commission in October 1983 (Accession BCHA-1983.7)."],"access_subjects_ssim":["Photographs"],"access_subjects_ssm":["Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["1 Photograph Binder Box"],"extent_tesim":["1 Photograph Binder Box"],"genreform_ssim":["Photographs"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003ePhillip Weidling Collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Phillip Weidling Collection is open for research."],"bioghist_html_tesm":["\u003cp\u003ePhillip Weidling was a local historian and author who lived in Fort Lauderdale, Florida from 1912 to 1980. He was born in Ohio in 1905 and moved to Fort Lauerdale in 1912 at age 7. He graduated from Fort Lauderdale High School. He was a newspaper reporter in Fort Lauderdale. He authored the book \"Dreams My Bartender Taught Me: and other stories of old Fort Lauderdale\" in 1989 and the 1963 children's book \"Secret of the old bridge.\" He also co-authored the book \"Checkered Sunshine: the story of Fort Lauderdale 1793-1955\" with August Burghard in 1974. Weidling died in 1995.\u003c/p\u003e\n","\u003cp\u003ePhillip Weidling's father was Carl P. Weidling, an attorney from Tiffin, Ohio. Carl Weidling served as a state representative in 1923, 1925, and 1926. He also developed the first golf course in Fort Lauderdale (now the site of Fort Lauderdale-Hollywood International Airport), and developed much of the island properties in Fort Lauderdale. He was also owner and president of the Fort Lauderdale Herald. In 1944 he married Mrs. Glen E. Dewey, who was the chairman for the Board of the Chicago Women's District Golf Association for nine years prior to moving to Fort Lauderdale.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Phillip Weidling was a local historian and author who lived in Fort Lauderdale, Florida from 1912 to 1980. He was born in Ohio in 1905 and moved to Fort Lauerdale in 1912 at age 7. He graduated from Fort Lauderdale High School. He was a newspaper reporter in Fort Lauderdale. He authored the book \"Dreams My Bartender Taught Me: and other stories of old Fort Lauderdale\" in 1989 and the 1963 children's book \"Secret of the old bridge.\" He also co-authored the book \"Checkered Sunshine: the story of Fort Lauderdale 1793-1955\" with August Burghard in 1974. Weidling died in 1995.","Phillip Weidling's father was Carl P. Weidling, an attorney from Tiffin, Ohio. Carl Weidling served as a state representative in 1923, 1925, and 1926. He also developed the first golf course in Fort Lauderdale (now the site of Fort Lauderdale-Hollywood International Airport), and developed much of the island properties in Fort Lauderdale. He was also owner and president of the Fort Lauderdale Herald. In 1944 he married Mrs. Glen E. Dewey, who was the chairman for the Board of the Chicago Women's District Golf Association for nine years prior to moving to Fort Lauderdale."],"prefercite_html_tesm":["\u003cp\u003ePhillip Weidling Collection, Broward County Historical Archives, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["Phillip Weidling Collection, Broward County Historical Archives, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThis collection received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection."],"relatedmaterial_html_tesm":["\u003cp\u003eSee Oral History (OH 1086) for oral history interview with Phillip Weidling.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["See Oral History (OH 1086) for oral history interview with Phillip Weidling."],"scopecontent_html_tesm":["\u003cp\u003eThe Phillip Weidling Collection contains 91 photographs, negatives, and papers that belonged to the Weilding family of Fort Lauderdale, Florida. The photographs document the early airfields and aviators of Broward County, the early history of Port Everglades, the development of the city of Sunrise in the 1950s, boats, and golfing during the 1910s-1920s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Phillip Weidling Collection contains 91 photographs, negatives, and papers that belonged to the Weilding family of Fort Lauderdale, Florida. The photographs document the early airfields and aviators of Broward County, the early history of Port Everglades, the development of the city of Sunrise in the 1950s, boats, and golfing during the 1910s-1920s."],"names_ssim":[" Broward County Historical Archives"],"corpname_ssim":[" Broward County Historical Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":99,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1875370526228086784,"_root_":"0ec4c27d52a43b44b4ff6f88","timestamp":"2026-09-04T03:31:44.607Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"0ec4c27d52a43b44b4ff6f88","title_filing_ssi":"Weidling, Phillip Collection","title_ssm":["Phillip Weidling Collection"],"title_tesim":["Phillip Weidling Collection"],"ead_ssi":"0ec4c27d52a43b44b4ff6f88","unitdate_ssm":["Circa 1912-1976"],"unitdate_inclusive_ssm":["Circa 1912-1976"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["BCHA.1983.7","/repositories/4/resources/259"],"text":["BCHA.1983.7","/repositories/4/resources/259","Phillip Weidling Collection, Circa 1912-1976","Fort Lauderdale (Fla.)","Photographs","Phillip Weidling Collection is open for research.","Phillip Weidling was a local historian and author who lived in Fort Lauderdale, Florida from 1912 to 1980. He was born in Ohio in 1905 and moved to Fort Lauerdale in 1912 at age 7. He graduated from Fort Lauderdale High School. He was a newspaper reporter in Fort Lauderdale. He authored the book \"Dreams My Bartender Taught Me: and other stories of old Fort Lauderdale\" in 1989 and the 1963 children's book \"Secret of the old bridge.\" He also co-authored the book \"Checkered Sunshine: the story of Fort Lauderdale 1793-1955\" with August Burghard in 1974. Weidling died in 1995.","Phillip Weidling's father was Carl P. Weidling, an attorney from Tiffin, Ohio. Carl Weidling served as a state representative in 1923, 1925, and 1926. He also developed the first golf course in Fort Lauderdale (now the site of Fort Lauderdale-Hollywood International Airport), and developed much of the island properties in Fort Lauderdale. He was also owner and president of the Fort Lauderdale Herald. In 1944 he married Mrs. Glen E. Dewey, who was the chairman for the Board of the Chicago Women's District Golf Association for nine years prior to moving to Fort Lauderdale.","This collection received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","See Oral History (OH 1086) for oral history interview with Phillip Weidling.","The Phillip Weidling Collection contains 91 photographs, negatives, and papers that belonged to the Weilding family of Fort Lauderdale, Florida. The photographs document the early airfields and aviators of Broward County, the early history of Port Everglades, the development of the city of Sunrise in the 1950s, boats, and golfing during the 1910s-1920s."," Broward County Historical Archives","English"],"unitid_tesim":["BCHA.1983.7","/repositories/4/resources/259"],"normalized_date_ssm":["Circa 1912-1976"],"normalized_title_ssm":["Phillip Weidling Collection, Circa 1912-1976"],"collection_title_tesim":["Phillip Weidling Collection, Circa 1912-1976"],"collection_ssim":["Phillip Weidling Collection, Circa 1912-1976"],"repository_ssm":["Broward County Historical Archives"],"repository_ssim":["Broward County Historical Archives"],"geogname_ssm":["Fort Lauderdale (Fla.)"],"geogname_ssim":["Fort Lauderdale (Fla.)"],"places_ssim":["Fort Lauderdale (Fla.)"],"acqinfo_ssim":["Phillip Weidling donated the materials to the Broward County Historical Commission in October 1983 (Accession BCHA-1983.7)."],"access_subjects_ssim":["Photographs"],"access_subjects_ssm":["Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["1 Photograph Binder Box"],"extent_tesim":["1 Photograph Binder Box"],"genreform_ssim":["Photographs"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003ePhillip Weidling Collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Phillip Weidling Collection is open for research."],"bioghist_html_tesm":["\u003cp\u003ePhillip Weidling was a local historian and author who lived in Fort Lauderdale, Florida from 1912 to 1980. He was born in Ohio in 1905 and moved to Fort Lauerdale in 1912 at age 7. He graduated from Fort Lauderdale High School. He was a newspaper reporter in Fort Lauderdale. He authored the book \"Dreams My Bartender Taught Me: and other stories of old Fort Lauderdale\" in 1989 and the 1963 children's book \"Secret of the old bridge.\" He also co-authored the book \"Checkered Sunshine: the story of Fort Lauderdale 1793-1955\" with August Burghard in 1974. Weidling died in 1995.\u003c/p\u003e\n","\u003cp\u003ePhillip Weidling's father was Carl P. Weidling, an attorney from Tiffin, Ohio. Carl Weidling served as a state representative in 1923, 1925, and 1926. He also developed the first golf course in Fort Lauderdale (now the site of Fort Lauderdale-Hollywood International Airport), and developed much of the island properties in Fort Lauderdale. He was also owner and president of the Fort Lauderdale Herald. In 1944 he married Mrs. Glen E. Dewey, who was the chairman for the Board of the Chicago Women's District Golf Association for nine years prior to moving to Fort Lauderdale.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Phillip Weidling was a local historian and author who lived in Fort Lauderdale, Florida from 1912 to 1980. He was born in Ohio in 1905 and moved to Fort Lauerdale in 1912 at age 7. He graduated from Fort Lauderdale High School. He was a newspaper reporter in Fort Lauderdale. He authored the book \"Dreams My Bartender Taught Me: and other stories of old Fort Lauderdale\" in 1989 and the 1963 children's book \"Secret of the old bridge.\" He also co-authored the book \"Checkered Sunshine: the story of Fort Lauderdale 1793-1955\" with August Burghard in 1974. Weidling died in 1995.","Phillip Weidling's father was Carl P. Weidling, an attorney from Tiffin, Ohio. Carl Weidling served as a state representative in 1923, 1925, and 1926. He also developed the first golf course in Fort Lauderdale (now the site of Fort Lauderdale-Hollywood International Airport), and developed much of the island properties in Fort Lauderdale. He was also owner and president of the Fort Lauderdale Herald. In 1944 he married Mrs. Glen E. Dewey, who was the chairman for the Board of the Chicago Women's District Golf Association for nine years prior to moving to Fort Lauderdale."],"prefercite_html_tesm":["\u003cp\u003ePhillip Weidling Collection, Broward County Historical Archives, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["Phillip Weidling Collection, Broward County Historical Archives, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThis collection received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection."],"relatedmaterial_html_tesm":["\u003cp\u003eSee Oral History (OH 1086) for oral history interview with Phillip Weidling.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["See Oral History (OH 1086) for oral history interview with Phillip Weidling."],"scopecontent_html_tesm":["\u003cp\u003eThe Phillip Weidling Collection contains 91 photographs, negatives, and papers that belonged to the Weilding family of Fort Lauderdale, Florida. The photographs document the early airfields and aviators of Broward County, the early history of Port Everglades, the development of the city of Sunrise in the 1950s, boats, and golfing during the 1910s-1920s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Phillip Weidling Collection contains 91 photographs, negatives, and papers that belonged to the Weilding family of Fort Lauderdale, Florida. The photographs document the early airfields and aviators of Broward County, the early history of Port Everglades, the development of the city of Sunrise in the 1950s, boats, and golfing during the 1910s-1920s."],"names_ssim":[" Broward County Historical Archives"],"corpname_ssim":[" Broward County Historical Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":99,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1875370526228086784,"_root_":"0ec4c27d52a43b44b4ff6f88","timestamp":"2026-09-04T03:31:44.607Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/0ec4c27d52a43b44b4ff6f88"}},{"id":"06fa364ef988931b2590cd07","type":"collection","attributes":{"title":"Phipps Family papers, 1854-1959","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/06fa364ef988931b2590cd07#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThis collection includes photographs of the Watrous family, especially Louise and her sisters Mary and Margaret, photos of Claibourne and Louise Phipps, correspondence, copies of news clippings about the Phipps family, a journal (1854), a character book (1913), and an autograph book (1881-1883).\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/06fa364ef988931b2590cd07#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"06fa364ef988931b2590cd07","title_ssm":["Phipps Family papers"],"title_tesim":["Phipps Family papers"],"ead_ssi":"06fa364ef988931b2590cd07","unitdate_ssm":["1854-1959"],"unitdate_inclusive_ssm":["1854-1959"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2008-12","/repositories/2/resources/379"],"text":["MS-2008-12","/repositories/2/resources/379","Phipps Family papers, 1854-1959","Tampa (Fla.) -- History","The Phipps Family is one of Tampa's pioneer families.","Claibourne Phipps, born in Terra Ceia, Florida in 1889, attended the University of Mississippi and studied law at the University of Florida. He practiced law in Tampa from 1913 until his death in 1938, except during his service as Captain of the artillery corps during World War I. He participated in many organizations and served as president of the Tampa Optimist club and president of the Hillsborough County Bar Association. Claibourne's wife, Louise, was the daughter of Harry J. Watrous. The Watrous family, one of Tampa's pioneer families, claimed descendants who served in the Seminole Indian Wars and the Civil War.  Louise attended the English Classical School in Tampa and Martha Washington Seminary in Washington D.C.  She headed the safety deposit department at the First National Bank in Tampa for more than fifteen years.  Louise and Claibourne Phipps had two sons, Harry, an attorney, and Richard, a Navy commander.","Watrous Family photograph album, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida; Louise Watrous Scrapbook, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","This collection includes photographs of the Watrous family, especially Louise and her sisters Mary and Margaret, photos of Claibourne and Louise Phipps, correspondence, copies of news clippings about the Phipps family, a journal (1854), a character book (1913), and an autograph book (1881-1883).","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","Gasparilla (Tampa, Fla.)","Phipps Family","Watrous Family","English"],"unitid_tesim":["MS-2008-12","/repositories/2/resources/379"],"normalized_date_ssm":["1854-1959"],"normalized_title_ssm":["Phipps Family papers, 1854-1959"],"collection_title_tesim":["Phipps Family papers, 1854-1959"],"collection_ssim":["Phipps Family papers, 1854-1959"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.) -- History"],"geogname_ssim":["Tampa (Fla.) -- History"],"places_ssim":["Tampa (Fla.) -- History"],"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":["Phipps family","Donation"],"has_online_content_ssim":["false"],"extent_ssm":["0.63 Linear Feet","2 boxes"],"extent_tesim":["0.63 Linear Feet","2 boxes"],"date_range_isim":[1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959],"bioghist_html_tesm":["\u003cp\u003eThe Phipps Family is one of Tampa's pioneer families.\u003c/p\u003e\n","\u003cp\u003eClaibourne Phipps, born in Terra Ceia, Florida in 1889, attended the University of Mississippi and studied law at the University of Florida. He practiced law in Tampa from 1913 until his death in 1938, except during his service as Captain of the artillery corps during World War I. He participated in many organizations and served as president of the Tampa Optimist club and president of the Hillsborough County Bar Association. Claibourne's wife, Louise, was the daughter of Harry J. Watrous. The Watrous family, one of Tampa's pioneer families, claimed descendants who served in the Seminole Indian Wars and the Civil War.\u0026#xA0; Louise attended the English Classical School in Tampa and Martha Washington Seminary in Washington D.C.\u0026#xA0; She headed the safety deposit department at the First National Bank in Tampa for more than fifteen years.\u0026#xA0; Louise and Claibourne Phipps had two sons, Harry, an attorney, and Richard, a Navy commander.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Phipps Family is one of Tampa's pioneer families.","Claibourne Phipps, born in Terra Ceia, Florida in 1889, attended the University of Mississippi and studied law at the University of Florida. He practiced law in Tampa from 1913 until his death in 1938, except during his service as Captain of the artillery corps during World War I. He participated in many organizations and served as president of the Tampa Optimist club and president of the Hillsborough County Bar Association. Claibourne's wife, Louise, was the daughter of Harry J. Watrous. The Watrous family, one of Tampa's pioneer families, claimed descendants who served in the Seminole Indian Wars and the Civil War.  Louise attended the English Classical School in Tampa and Martha Washington Seminary in Washington D.C.  She headed the safety deposit department at the First National Bank in Tampa for more than fifteen years.  Louise and Claibourne Phipps had two sons, Harry, an attorney, and Richard, a Navy commander."],"prefercite_html_tesm":["\u003cp\u003ePhipps Family papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Phipps Family papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eWatrous Family photograph album, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida; Louise Watrous Scrapbook, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Watrous Family photograph album, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida; Louise Watrous Scrapbook, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThis collection includes photographs of the Watrous family, especially Louise and her sisters Mary and Margaret, photos of Claibourne and Louise Phipps, correspondence, copies of news clippings about the Phipps family, a journal (1854), a character book (1913), and an autograph book (1881-1883).\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection includes photographs of the Watrous family, especially Louise and her sisters Mary and Margaret, photos of Claibourne and Louise Phipps, correspondence, copies of news clippings about the Phipps family, a journal (1854), a character book (1913), and an autograph book (1881-1883)."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_coll_ssim":["Gasparilla (Tampa, Fla.)","Phipps Family","Watrous Family"],"names_ssim":["USF Libraries - Tampa Special Collections","Gasparilla (Tampa, Fla.)","Phipps Family","Watrous Family"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Gasparilla (Tampa, Fla.)"],"famname_ssim":["Phipps Family","Watrous Family"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":25,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"06fa364ef988931b2590cd07","timestamp":"2026-07-10T04:15:40.602Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"06fa364ef988931b2590cd07","title_ssm":["Phipps Family papers"],"title_tesim":["Phipps Family papers"],"ead_ssi":"06fa364ef988931b2590cd07","unitdate_ssm":["1854-1959"],"unitdate_inclusive_ssm":["1854-1959"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2008-12","/repositories/2/resources/379"],"text":["MS-2008-12","/repositories/2/resources/379","Phipps Family papers, 1854-1959","Tampa (Fla.) -- History","The Phipps Family is one of Tampa's pioneer families.","Claibourne Phipps, born in Terra Ceia, Florida in 1889, attended the University of Mississippi and studied law at the University of Florida. He practiced law in Tampa from 1913 until his death in 1938, except during his service as Captain of the artillery corps during World War I. He participated in many organizations and served as president of the Tampa Optimist club and president of the Hillsborough County Bar Association. Claibourne's wife, Louise, was the daughter of Harry J. Watrous. The Watrous family, one of Tampa's pioneer families, claimed descendants who served in the Seminole Indian Wars and the Civil War.  Louise attended the English Classical School in Tampa and Martha Washington Seminary in Washington D.C.  She headed the safety deposit department at the First National Bank in Tampa for more than fifteen years.  Louise and Claibourne Phipps had two sons, Harry, an attorney, and Richard, a Navy commander.","Watrous Family photograph album, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida; Louise Watrous Scrapbook, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","This collection includes photographs of the Watrous family, especially Louise and her sisters Mary and Margaret, photos of Claibourne and Louise Phipps, correspondence, copies of news clippings about the Phipps family, a journal (1854), a character book (1913), and an autograph book (1881-1883).","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","Gasparilla (Tampa, Fla.)","Phipps Family","Watrous Family","English"],"unitid_tesim":["MS-2008-12","/repositories/2/resources/379"],"normalized_date_ssm":["1854-1959"],"normalized_title_ssm":["Phipps Family papers, 1854-1959"],"collection_title_tesim":["Phipps Family papers, 1854-1959"],"collection_ssim":["Phipps Family papers, 1854-1959"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.) -- History"],"geogname_ssim":["Tampa (Fla.) -- History"],"places_ssim":["Tampa (Fla.) -- History"],"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":["Phipps family","Donation"],"has_online_content_ssim":["false"],"extent_ssm":["0.63 Linear Feet","2 boxes"],"extent_tesim":["0.63 Linear Feet","2 boxes"],"date_range_isim":[1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959],"bioghist_html_tesm":["\u003cp\u003eThe Phipps Family is one of Tampa's pioneer families.\u003c/p\u003e\n","\u003cp\u003eClaibourne Phipps, born in Terra Ceia, Florida in 1889, attended the University of Mississippi and studied law at the University of Florida. He practiced law in Tampa from 1913 until his death in 1938, except during his service as Captain of the artillery corps during World War I. He participated in many organizations and served as president of the Tampa Optimist club and president of the Hillsborough County Bar Association. Claibourne's wife, Louise, was the daughter of Harry J. Watrous. The Watrous family, one of Tampa's pioneer families, claimed descendants who served in the Seminole Indian Wars and the Civil War.\u0026#xA0; Louise attended the English Classical School in Tampa and Martha Washington Seminary in Washington D.C.\u0026#xA0; She headed the safety deposit department at the First National Bank in Tampa for more than fifteen years.\u0026#xA0; Louise and Claibourne Phipps had two sons, Harry, an attorney, and Richard, a Navy commander.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Phipps Family is one of Tampa's pioneer families.","Claibourne Phipps, born in Terra Ceia, Florida in 1889, attended the University of Mississippi and studied law at the University of Florida. He practiced law in Tampa from 1913 until his death in 1938, except during his service as Captain of the artillery corps during World War I. He participated in many organizations and served as president of the Tampa Optimist club and president of the Hillsborough County Bar Association. Claibourne's wife, Louise, was the daughter of Harry J. Watrous. The Watrous family, one of Tampa's pioneer families, claimed descendants who served in the Seminole Indian Wars and the Civil War.  Louise attended the English Classical School in Tampa and Martha Washington Seminary in Washington D.C.  She headed the safety deposit department at the First National Bank in Tampa for more than fifteen years.  Louise and Claibourne Phipps had two sons, Harry, an attorney, and Richard, a Navy commander."],"prefercite_html_tesm":["\u003cp\u003ePhipps Family papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Phipps Family papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eWatrous Family photograph album, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida; Louise Watrous Scrapbook, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Watrous Family photograph album, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida; Louise Watrous Scrapbook, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThis collection includes photographs of the Watrous family, especially Louise and her sisters Mary and Margaret, photos of Claibourne and Louise Phipps, correspondence, copies of news clippings about the Phipps family, a journal (1854), a character book (1913), and an autograph book (1881-1883).\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection includes photographs of the Watrous family, especially Louise and her sisters Mary and Margaret, photos of Claibourne and Louise Phipps, correspondence, copies of news clippings about the Phipps family, a journal (1854), a character book (1913), and an autograph book (1881-1883)."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_coll_ssim":["Gasparilla (Tampa, Fla.)","Phipps Family","Watrous Family"],"names_ssim":["USF Libraries - Tampa Special Collections","Gasparilla (Tampa, Fla.)","Phipps Family","Watrous Family"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Gasparilla (Tampa, Fla.)"],"famname_ssim":["Phipps Family","Watrous Family"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":25,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"06fa364ef988931b2590cd07","timestamp":"2026-07-10T04:15:40.602Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/06fa364ef988931b2590cd07"}},{"id":"763de249ff7d9b630424e493_aspace_df2d571445bd932add51b45af1f0d532","type":"Item","attributes":{"title":"Photo album #1273., Circa 1850-1940","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_df2d571445bd932add51b45af1f0d532#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_df2d571445bd932add51b45af1f0d532","ref_ssm":["aspace_df2d571445bd932add51b45af1f0d532","aspace_df2d571445bd932add51b45af1f0d532"],"id":"763de249ff7d9b630424e493_aspace_df2d571445bd932add51b45af1f0d532","title_filing_ssi":"Photo album #1273.","title_ssm":["Photo album #1273."],"title_tesim":["Photo album #1273."],"unitdate_inclusive_ssm":["Circa 1850-1940"],"normalized_date_ssm":["Circa 1850-1940"],"normalized_title_ssm":["Photo album #1273., Circa 1850-1940"],"text":["Photo album #1273., Circa 1850-1940","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Couples and Families","Scrapbooks and Photo Albums","/repositories/2/archival_objects/7451","box 35"],"component_level_isim":[3],"parent_ids_ssim":["763de249ff7d9b630424e493","763de249ff7d9b630424e493_aspace_acb689989cbc6d5b9a27e48d4327b0d6","763de249ff7d9b630424e493_aspace_09339530b2ee739581cb68cd99d8f15c"],"parent_unittitles_ssm":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Couples and Families","Scrapbooks and Photo Albums"],"parent_unittitles_tesim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Couples and Families","Scrapbooks and Photo Albums"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/2/archival_objects/7451"],"repository_ssim":["AARLCC Special Collections"],"collection_ssim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1595,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"date_range_isim":[1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940],"containers_ssim":["box 35"],"_nest_path_":"/components#3/components#223/components#167","_nest_parent_":"763de249ff7d9b630424e493_aspace_09339530b2ee739581cb68cd99d8f15c","_root_":"763de249ff7d9b630424e493","timestamp":"2026-04-23T01:31:38.219Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"763de249ff7d9b630424e493","title_filing_ssi":"Love-Thornell Collection of Black American Photographs","title_ssm":["Love-Thornell Collection of Black American Photographs"],"title_tesim":["Love-Thornell Collection of Black American Photographs"],"ead_ssi":"763de249ff7d9b630424e493","unitdate_ssm":["Circa 1850-1950"],"unitdate_inclusive_ssm":["Circa 1850-1950"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["AARLCC.2021.17","/repositories/2/resources/168"],"text":["AARLCC.2021.17","/repositories/2/resources/168","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","African American women","African American men","African American children","Families","Cabinet photographs","Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera","The Love-Thornell Collection of Black American Photographs is open for research.","The collection is arranged into eleven series: Series I. Photographs of Women, Series II. Photographs of Men, Series III. Photographs of Children, Series IV. Photographs of Couples and Families, Series V. Photographs of Celebrities, Series VI. Sports, Series VII. Military, Series VIII. Groups, Series IX. Printed Materials, Series X. Correspondence, and Series XI. Audio Visual Materials.","Children and Edcuation are a subseries of Series III. Photographs of Children, and Scrapbooks and Photo Albums are a sub-series of Series IV. Photographs of Couples and Families.","Jacquelyn \"Jacqui\" Love Thornell was born on April 27, 1948 in the Liberty City neighborhood of Miami, Florida to parents Minnie Tysdale Love and Wyatt Love. Jacqui moved to Newark, New Jersey in the 7th grade and attended Trent State University after graduating from high school. She earned a Bachelor of Arts degree in Early Childhood Education with minors in Math and Psychology. She worked as a teacher in a charter school in Massachusetts. She met and married her husband, Kwasi Thornell during graduate school. They have three daughters. Dr. Kwasi Thornell is a retired minister of the Presbyterian Church.","Jacqui worked as an assistant to the publisher for the Washington Post and the Miami Herald. She later became the Head of the Human Resources department at the Miami Herald. Jacqui left her position due to her health. For fifteen years, she collected memorabilia and photographs of African Americans from the mid-nineteenth century to the mid-twentieth century.","She began collecting photographs because, in her words, \"I wanted to see photographs of everyday Black people. Because I knew that there were a lot of Black people going to work everyday and going to church and thriving, but we don't see a lot of those pictures. So I decided that I was going to focus on everyday people... The more I looked the more I found, and the more I found the more I bought.\"","The Love-Thornell Collection of Black American Photographs received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","Description of the items rely on an inventory provided by Jacqui Love-Thornell which includes description and item numbers for each photograph from 1-776. Gaps witihin this range reflect items not received by Broward County Library Special Collections. Items numbered after 776 were provided description by Broward County Library Special Collections staff. ","View a selection of digitized materials from the Love-Thornell Collection of Black American Photographs in the Broward County Library Digital Archives.","The Love-Thornell Collection of Black American Photographs contains over 1300 photographs including cabinet cards, tintypes, daguerreotypes, ambrotypes, stereotypes, cartes de visite and postcards documenting Black American life from the mid-nineteenth to mid-twentieth century. Jaquelyn Love-Thornell collected the photographs over a 15-year period.","Books from this collection were cataloged in the Broward County Library catalog with the prefix \"LOT\".","AARLCC Special Collections","English"],"unitid_tesim":["AARLCC.2021.17","/repositories/2/resources/168"],"normalized_date_ssm":["Circa 1850-1950"],"normalized_title_ssm":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"collection_title_tesim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"collection_ssim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"repository_ssm":["AARLCC Special Collections"],"repository_ssim":["AARLCC Special Collections"],"acqinfo_ssim":["Jaquelyn Love-Thornell donated the materials to AARLCC Special Collections on November 15, 2021 (Accession AARLCC-2021.17)."],"access_subjects_ssim":["African American women","African American men","African American children","Families","Cabinet photographs","Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera"],"access_subjects_ssm":["African American women","African American men","African American children","Families","Cabinet photographs","Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera"],"has_online_content_ssim":["false"],"extent_ssm":["43 Boxes","39 Photograph Binder Boxes","1 Hollinger Box","2 Oversize Print Boxes","1 Box (irregular size)","13 Books"],"extent_tesim":["43 Boxes","39 Photograph Binder Boxes","1 Hollinger Box","2 Oversize Print Boxes","1 Box (irregular size)","13 Books"],"genreform_ssim":["Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera"],"date_range_isim":[1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950],"accessrestrict_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The Love-Thornell Collection of Black American Photographs is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into eleven series: Series I. Photographs of Women, Series II. Photographs of Men, Series III. Photographs of Children, Series IV. Photographs of Couples and Families, Series V. Photographs of Celebrities, Series VI. Sports, Series VII. Military, Series VIII. Groups, Series IX. Printed Materials, Series X. Correspondence, and Series XI. Audio Visual Materials.\u003c/p\u003e\n","\u003cp\u003eChildren and Edcuation are a subseries of Series III. Photographs of Children, and Scrapbooks and Photo Albums are a sub-series of Series IV. Photographs of Couples and Families.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into eleven series: Series I. Photographs of Women, Series II. Photographs of Men, Series III. Photographs of Children, Series IV. Photographs of Couples and Families, Series V. Photographs of Celebrities, Series VI. Sports, Series VII. Military, Series VIII. Groups, Series IX. Printed Materials, Series X. Correspondence, and Series XI. Audio Visual Materials.","Children and Edcuation are a subseries of Series III. Photographs of Children, and Scrapbooks and Photo Albums are a sub-series of Series IV. Photographs of Couples and Families."],"bioghist_html_tesm":["\u003cp\u003eJacquelyn \"Jacqui\" Love Thornell was born on April 27, 1948 in the Liberty City neighborhood of Miami, Florida to parents Minnie Tysdale Love and Wyatt Love. Jacqui moved to Newark, New Jersey in the 7th grade and attended Trent State University after graduating from high school. She earned a Bachelor of Arts degree in Early Childhood Education with minors in Math and Psychology. She worked as a teacher in a charter school in Massachusetts. She met and married her husband, Kwasi Thornell during graduate school. They have three daughters. Dr. Kwasi Thornell is a retired minister of the Presbyterian Church.\u003c/p\u003e\n","\u003cp\u003eJacqui worked as an assistant to the publisher for the Washington Post and the Miami Herald. She later became the Head of the Human Resources department at the Miami Herald. Jacqui left her position due to her health. For fifteen years, she collected memorabilia and photographs of African Americans from the mid-nineteenth century to the mid-twentieth century.\u003c/p\u003e\n","\u003cp\u003eShe began collecting photographs because, in her words, \"I wanted to see photographs of everyday Black people. Because I knew that there were a lot of Black people going to work everyday and going to church and thriving, but we don't see a lot of those pictures. So I decided that I was going to focus on everyday people... The more I looked the more I found, and the more I found the more I bought.\"\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Jacquelyn \"Jacqui\" Love Thornell was born on April 27, 1948 in the Liberty City neighborhood of Miami, Florida to parents Minnie Tysdale Love and Wyatt Love. Jacqui moved to Newark, New Jersey in the 7th grade and attended Trent State University after graduating from high school. She earned a Bachelor of Arts degree in Early Childhood Education with minors in Math and Psychology. She worked as a teacher in a charter school in Massachusetts. She met and married her husband, Kwasi Thornell during graduate school. They have three daughters. Dr. Kwasi Thornell is a retired minister of the Presbyterian Church.","Jacqui worked as an assistant to the publisher for the Washington Post and the Miami Herald. She later became the Head of the Human Resources department at the Miami Herald. Jacqui left her position due to her health. For fifteen years, she collected memorabilia and photographs of African Americans from the mid-nineteenth century to the mid-twentieth century.","She began collecting photographs because, in her words, \"I wanted to see photographs of everyday Black people. Because I knew that there were a lot of Black people going to work everyday and going to church and thriving, but we don't see a lot of those pictures. So I decided that I was going to focus on everyday people... The more I looked the more I found, and the more I found the more I bought.\""],"prefercite_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs, AARLCC Special Collections, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["The Love-Thornell Collection of Black American Photographs, AARLCC Special Collections, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e","\u003cp\u003eDescription of the items rely on an inventory provided by Jacqui Love-Thornell which includes description and item numbers for each photograph from 1-776. Gaps witihin this range reflect items not received by Broward County Library Special Collections. Items numbered after 776 were provided description by Broward County Library Special Collections staff. \u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The Love-Thornell Collection of Black American Photographs received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","Description of the items rely on an inventory provided by Jacqui Love-Thornell which includes description and item numbers for each photograph from 1-776. Gaps witihin this range reflect items not received by Broward County Library Special Collections. Items numbered after 776 were provided description by Broward County Library Special Collections staff. "],"relatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://digitalarchives.broward.org/digital/collection/p16146coll35/search\" target=\"_blank\"\u003eView a selection of digitized materials from the Love-Thornell Collection of Black American Photographs in the Broward County Library Digital Archives.\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Digital Materials"],"relatedmaterial_tesim":["View a selection of digitized materials from the Love-Thornell Collection of Black American Photographs in the Broward County Library Digital Archives."],"scopecontent_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs contains over 1300 photographs including cabinet cards, tintypes, daguerreotypes, ambrotypes, stereotypes, cartes de visite and postcards documenting Black American life from the mid-nineteenth to mid-twentieth century. Jaquelyn Love-Thornell collected the photographs over a 15-year period.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Love-Thornell Collection of Black American Photographs contains over 1300 photographs including cabinet cards, tintypes, daguerreotypes, ambrotypes, stereotypes, cartes de visite and postcards documenting Black American life from the mid-nineteenth to mid-twentieth century. Jaquelyn Love-Thornell collected the photographs over a 15-year period."],"separatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://broward.ent.sirsi.net/client/en_US/default/search/results?qu=LOT\u0026amp;qf=LOCATION%09Shelf+Location%091%3AAF-SPC%09AARLCC+Special+Collections\" target=\"_blank\"\u003eBooks from this collection were cataloged in the Broward County Library catalog with the prefix \"LOT\".\u003c/a\u003e\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Books from this collection were cataloged in the Broward County Library catalog with the prefix \"LOT\"."],"names_ssim":["AARLCC Special Collections"],"corpname_ssim":["AARLCC Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1704,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"763de249ff7d9b630424e493","timestamp":"2026-04-23T01:31:38.219Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_df2d571445bd932add51b45af1f0d532"}},{"id":"b45fd26994277ce465acef6c_aspace_c817c6dae78cf1066153dd427fec2a93","type":"Item","attributes":{"title":"Photo Album from Nazi Germany (family), 1915-1958","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/b45fd26994277ce465acef6c_aspace_c817c6dae78cf1066153dd427fec2a93#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_c817c6dae78cf1066153dd427fec2a93","ref_ssm":["aspace_c817c6dae78cf1066153dd427fec2a93","aspace_c817c6dae78cf1066153dd427fec2a93"],"id":"b45fd26994277ce465acef6c_aspace_c817c6dae78cf1066153dd427fec2a93","title_filing_ssi":"Photo Album from Nazi Germany (family)","title_ssm":["Photo Album from Nazi Germany (family)"],"title_tesim":["Photo Album from Nazi Germany (family)"],"unitdate_inclusive_ssm":["1915-1958"],"normalized_date_ssm":["1915-1958"],"normalized_title_ssm":["Photo Album from Nazi Germany (family), 1915-1958"],"text":["Photo Album from Nazi Germany (family), 1915-1958","World War II Collection, bulk 1920-1980","Photographs, Posters, and Postcards","Photographs","/repositories/2/archival_objects/23010","German","box 01"],"component_level_isim":[3],"parent_ids_ssim":["b45fd26994277ce465acef6c","b45fd26994277ce465acef6c_aspace_4145660205008d6dae135d03c9bb125a","b45fd26994277ce465acef6c_aspace_75d7e2cf874e8b1a36bbb2261efe6678"],"parent_unittitles_ssm":["World War II Collection, bulk 1920-1980","Photographs, Posters, and Postcards","Photographs"],"parent_unittitles_tesim":["World War II Collection, bulk 1920-1980","Photographs, Posters, and Postcards","Photographs"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/2/archival_objects/23010"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"collection_ssim":["World War II Collection, bulk 1920-1980"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":3,"parent_access_restrict_tesm":["The collection is open for use."],"date_range_isim":[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],"language_ssim":["German"],"containers_ssim":["box 01"],"_nest_path_":"/components#0/components#0/components#0","_nest_parent_":"b45fd26994277ce465acef6c_aspace_75d7e2cf874e8b1a36bbb2261efe6678","_root_":"b45fd26994277ce465acef6c","_version_":1870843505219207168,"timestamp":"2026-07-16T04:16:40.939Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"b45fd26994277ce465acef6c","title_ssm":["World War II Collection"],"title_tesim":["World War II Collection"],"ead_ssi":"b45fd26994277ce465acef6c","unitdate_ssm":["1920-1980"],"unitdate_bulk_ssim":["1920-1980"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["2020.SC.28","/repositories/2/resources/35"],"text":["2020.SC.28","/repositories/2/resources/35","World War II Collection, bulk 1920-1980","The collection is open for use.","Organized in five series: Series 1, Photographs, Posters, and Postcards; Series 2, Personal Papers; Series 3, Realia; Series 4, Maps; and Series 5, Newspapers and Magazines.","The World War II Collection consists of material from throughout the war, as well as the two decades preceeding and the immediate postwar period of the 1940s. Materials include oral histories, correspondences, diaries, ephemera, memoirs, and photographs.","Florida Gulf Coast University Special Collections","Stecher, Jo","English German French"],"unitid_tesim":["2020.SC.28","/repositories/2/resources/35"],"normalized_date_ssm":["bulk 1920-1980"],"normalized_title_ssm":["World War II Collection, bulk 1920-1980"],"collection_title_tesim":["World War II Collection, bulk 1920-1980"],"collection_ssim":["World War II Collection, bulk 1920-1980"],"repository_ssm":["Florida Gulf Coast University Special Collections"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"has_online_content_ssim":["false"],"extent_ssm":["3 Linear Feet"],"extent_tesim":["3 Linear Feet"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980],"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\u003eOrganized in five series: Series 1, Photographs, Posters, and Postcards; Series 2, Personal Papers; Series 3, Realia; Series 4, Maps; and Series 5, Newspapers and Magazines.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Organized in five series: Series 1, Photographs, Posters, and Postcards; Series 2, Personal Papers; Series 3, Realia; Series 4, Maps; and Series 5, Newspapers and Magazines."],"scopecontent_html_tesm":["\u003cp\u003eThe World War II Collection consists of material from throughout the war, as well as the two decades preceeding and the immediate postwar period of the 1940s. Materials include oral histories, correspondences, diaries, ephemera, memoirs, and photographs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The World War II Collection consists of material from throughout the war, as well as the two decades preceeding and the immediate postwar period of the 1940s. 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Scott Collection, Circa 1910-1962","/repositories/4/archival_objects/3241","folder 1"],"component_level_isim":[1],"parent_ids_ssim":["7915526f7e8c8fb19906db39"],"parent_unittitles_ssm":["Judge Robert C. Scott Collection, Circa 1910-1962"],"parent_unittitles_tesim":["Judge Robert C. Scott Collection, Circa 1910-1962"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/4/archival_objects/3241"],"repository_ssim":["Broward County Historical Archives"],"collection_ssim":["Judge Robert C. Scott Collection, Circa 1910-1962"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["Judge Robert C. Scott Collection is open for research."],"date_range_isim":[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],"containers_ssim":["folder 1"],"_nest_path_":"/components#0","_nest_parent_":"7915526f7e8c8fb19906db39","_root_":"7915526f7e8c8fb19906db39","_version_":1870840708187815936,"timestamp":"2026-07-16T03:32:13.486Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"7915526f7e8c8fb19906db39","title_filing_ssi":"Scott, Judge Robert C. Collection","title_ssm":["Judge Robert C. Scott Collection"],"title_tesim":["Judge Robert C. Scott Collection"],"ead_ssi":"7915526f7e8c8fb19906db39","unitdate_ssm":["Circa 1910-1962"],"unitdate_inclusive_ssm":["Circa 1910-1962"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["BCHA.1987.16","/repositories/4/resources/155"],"text":["BCHA.1987.16","/repositories/4/resources/155","Judge Robert C. Scott Collection, Circa 1910-1962","Judge Robert C. Scott Collection is open for research.","The Judge Robert C. Scott Collection is made up of photographic copies of what were originally postcards. Though only the front of the postcards were copies the notes on the back of the photos mention various postmark dates. The originals were owned by Robert Clement Scott, who was a Broward County circuit judge from 1982-1993. They were loaned to the Broward County Historical commission for copying in 1986.","Judge Robert C. Scott Collection received container level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","The Judge Robert C. Scott Collection contains twenty seven black and white photographic copies of postcards showing historical Fort Lauderdale.They include images of downtown Fort Lauderdale, the New River Hotel, and boat damage from the 1926 hurricane."," Broward County Historical Archives","English"],"unitid_tesim":["BCHA.1987.16","/repositories/4/resources/155"],"normalized_date_ssm":["Circa 1910-1962"],"normalized_title_ssm":["Judge Robert C. Scott Collection, Circa 1910-1962"],"collection_title_tesim":["Judge Robert C. Scott Collection, Circa 1910-1962"],"collection_ssim":["Judge Robert C. 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Though only the front of the postcards were copies the notes on the back of the photos mention various postmark dates. The originals were owned by Robert Clement Scott, who was a Broward County circuit judge from 1982-1993. They were loaned to the Broward County Historical commission for copying in 1986.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The Judge Robert C. Scott Collection is made up of photographic copies of what were originally postcards. Though only the front of the postcards were copies the notes on the back of the photos mention various postmark dates. The originals were owned by Robert Clement Scott, who was a Broward County circuit judge from 1982-1993. They were loaned to the Broward County Historical commission for copying in 1986."],"prefercite_html_tesm":["\u003cp\u003eJudge Robert C. Scott Collection, Broward County Historical Archives, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["Judge Robert C. Scott Collection, Broward County Historical Archives, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eJudge Robert C. Scott Collection received container level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Judge Robert C. Scott Collection received container level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection."],"scopecontent_html_tesm":["\u003cp\u003eThe Judge Robert C. Scott Collection contains twenty seven black and white photographic copies of postcards showing historical Fort Lauderdale.They include images of downtown Fort Lauderdale, the New River Hotel, and boat damage from the 1926 hurricane.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Judge Robert C. Scott Collection contains twenty seven black and white photographic copies of postcards showing historical Fort Lauderdale.They include images of downtown Fort Lauderdale, the New River Hotel, and boat damage from the 1926 hurricane."],"names_ssim":[" Broward County Historical Archives"],"corpname_ssim":[" Broward County Historical Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870840708187815936,"_root_":"7915526f7e8c8fb19906db39","timestamp":"2026-07-16T03:32:13.486Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/7915526f7e8c8fb19906db39_aspace_fd9a695980feb09ff3d77d4747302153"}},{"id":"18ce43a3c782b797db9fa781","type":"collection","attributes":{"title":"Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Office of the President, 1883-1957","value":"Office of the President, 1883-1957","hits":188},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Office+of+the+President%2C+1883-1957\u0026f%5Bdate_range%5D%5B%5D=1928"}},{"attributes":{"label":"Michael A. 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