{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026page=35\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026page=34\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026page=36\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026page=211\u0026view=compact"},"meta":{"pages":{"current_page":35,"next_page":36,"prev_page":34,"total_pages":211,"limit_value":10,"offset_value":340,"total_count":2108,"first_page?":false,"last_page?":false}},"data":[{"id":"df5f33ab57ee6e767c26a104","type":"collection","attributes":{"title":"Cienfuegos Collection, 1819-1991","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/df5f33ab57ee6e767c26a104#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. 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Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.","Cienfuegos, Cuba was founded in 1819 by French colonists, then deemed Fernandina de Jagua for King Ferdinand VII of Spain and Chief Jagua by early Spanish conquistadors. Cienfuegos, being a port city, became a center of the growing trade of crops such as coffee, sugarcane, and tobacco, as well as serving as a hub for Cuba's shrimp industry. The city's commercial success coincided with Cuba's sugar boom, making Cienfuegos one of the country's most economically important cities. The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments.","The materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. 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Researchers must contact Special Collections \u0026amp; University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"bioghist_html_tesm":["\u003cp\u003eCienfuegos, Cuba was founded in 1819 by French colonists, then deemed Fernandina de Jagua for King Ferdinand VII of Spain and Chief Jagua by early Spanish conquistadors. 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The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. 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Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.","Cienfuegos, Cuba was founded in 1819 by French colonists, then deemed Fernandina de Jagua for King Ferdinand VII of Spain and Chief Jagua by early Spanish conquistadors. Cienfuegos, being a port city, became a center of the growing trade of crops such as coffee, sugarcane, and tobacco, as well as serving as a hub for Cuba's shrimp industry. The city's commercial success coincided with Cuba's sugar boom, making Cienfuegos one of the country's most economically important cities. The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments.","The materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. It includes full texts and editions of regional newspapers, as well as the more intimate look at sketches, blueprints, seals, and correspondence, postcards, and business cards.","The Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","English Spanish; Castilian"],"unitid_tesim":["SPC9010","/repositories/2/resources/115"],"normalized_date_ssm":["1819-1991"],"normalized_title_ssm":["Cienfuegos Collection, 1819-1991"],"collection_title_tesim":["Cienfuegos Collection, 1819-1991"],"collection_ssim":["Cienfuegos Collection, 1819-1991"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"geogname_ssm":["Cuba"],"geogname_ssim":["Cuba"],"places_ssim":["Cuba"],"access_terms_ssm":["The Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. 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The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. 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For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e\n","\u003cp\u003eFor more information please visit: https://library.fiu.edu/find/copyright/general\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. 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Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-11","/repositories/2/resources/638"],"normalized_date_ssm":["1900-1995"],"normalized_title_ssm":["Cigar Industry supplementary material, 1900-1995"],"collection_title_tesim":["Cigar Industry supplementary material, 1900-1995"],"collection_ssim":["Cigar Industry supplementary material, 1900-1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"access_subjects_ssim":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"access_subjects_ssm":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["1 boxes","0.42 Linear Feet"],"extent_tesim":["1 boxes","0.42 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995],"arrangement_html_tesm":["\u003cp\u003eMaterials are arranged topically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials are arranged topically."],"prefercite_html_tesm":["\u003cp\u003eCigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Cigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_338bf1cf1c0a08ff9acffcbd8be08899\"\u003eThis collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"3a2a2bd1f653ffea6555f77b","timestamp":"2026-07-10T05:12:43.897Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"3a2a2bd1f653ffea6555f77b","title_ssm":["Cigar Industry supplementary material"],"title_tesim":["Cigar Industry supplementary material"],"ead_ssi":"3a2a2bd1f653ffea6555f77b","unitdate_ssm":["1900-1995"],"unitdate_inclusive_ssm":["1900-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-11","/repositories/2/resources/638"],"text":["MS-1995-11","/repositories/2/resources/638","Cigar Industry supplementary material, 1900-1995","Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida","Materials are arranged topically.","Materials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-11","/repositories/2/resources/638"],"normalized_date_ssm":["1900-1995"],"normalized_title_ssm":["Cigar Industry supplementary material, 1900-1995"],"collection_title_tesim":["Cigar Industry supplementary material, 1900-1995"],"collection_ssim":["Cigar Industry supplementary material, 1900-1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"access_subjects_ssim":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"access_subjects_ssm":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["1 boxes","0.42 Linear Feet"],"extent_tesim":["1 boxes","0.42 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995],"arrangement_html_tesm":["\u003cp\u003eMaterials are arranged topically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials are arranged topically."],"prefercite_html_tesm":["\u003cp\u003eCigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Cigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_338bf1cf1c0a08ff9acffcbd8be08899\"\u003eThis collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"3a2a2bd1f653ffea6555f77b","timestamp":"2026-07-10T05:12:43.897Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/3a2a2bd1f653ffea6555f77b"}},{"id":"1fb60b2a237557e58ed95300","type":"collection","attributes":{"title":"Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300#abstract_or_scope","type":"document_value","attributes":{"value":["Collection of cigar labels from the late 19th century to the early 20th century."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"1fb60b2a237557e58ed95300","title_ssm":["Cigar Label Collection"],"title_tesim":["Cigar Label Collection"],"ead_ssi":"1fb60b2a237557e58ed95300","unitdate_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"unitdate_inclusive_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC6005","/repositories/2/resources/127"],"text":["SPC6005","/repositories/2/resources/127","Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","The collection is open for research.","Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros.","Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.","The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos.","Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.","Collection of cigar labels from the late 19th century to the early 20th century.","FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)","Spanish; Castilian"],"unitid_tesim":["SPC6005","/repositories/2/resources/127"],"normalized_date_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"normalized_title_ssm":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_title_tesim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_ssim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"has_online_content_ssim":["false"],"extent_ssm":["217 items"],"extent_tesim":["217 items"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eOmar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. \u003c/p\u003e\n","\u003cp\u003eWith the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.\u003c/p\u003e\n","\u003cp\u003eAmong the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company, and M.M. Sevis \u0026amp; Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026amp; Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026amp; Company and M.M. Sevis \u0026amp; Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. \u003c/p\u003e\n","\u003cp\u003eThe important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. \u003c/p\u003e\n","\u003cp\u003eThe multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. \u003c/p\u003e\n","\u003cp\u003e\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colecci\u0026#xF3;n de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitograf\u0026#xED;a. Su pasi\u0026#xF3;n por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colecci\u0026#xF3;n.\u003c/p\u003e\n","\u003cp\u003eEstas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este per\u0026#xED;odo. Con el auge de la cromolitograf\u0026#xED;a, que revolucion\u0026#xF3; la producci\u0026#xF3;n de etiquetas en todo el mundo, se permiti\u0026#xF3; la creaci\u0026#xF3;n de dise\u0026#xF1;os ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que tambi\u0026#xE9;n serv\u0026#xED;an como una estrategia de marketing crucial para demostrar la calidad y el artesanado detr\u0026#xE1;s de estos cigarros. Con una colecci\u0026#xF3;n que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio art\u0026#xED;stico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional m\u0026#xE1;s amplio del consumo de cigarros.\u003c/p\u003e\n","\u003cp\u003eEntre los destacados fabricantes que aparecen en esta colecci\u0026#xF3;n de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company y M.M. Sevis \u0026amp; Sons, entre otras peque\u0026#xF1;as empresas menos conocidas. Cada una de estas compa\u0026#xF1;\u0026#xED;as contribuy\u0026#xF3; de manera \u0026#xFA;nica a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes dise\u0026#xF1;os que generalmente incorporaban motivos florales y temas cl\u0026#xE1;sicos, mientras que F. Garcia \u0026amp; Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de im\u0026#xE1;genes audaces y llamativas. Tanto Alfonso Rios \u0026amp; Company como M.M. Sevis \u0026amp; Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginer\u0026#xED;a visual a trav\u0026#xE9;s de etiquetas, utilizando s\u0026#xED;mbolos locales y estilos iconogr\u0026#xE1;ficos art\u0026#xED;sticos que resonaban con los consumidores, tanto nacionales como internacionales.\u003c/p\u003e\n","\u003cp\u003eEl importante papel de los lit\u0026#xF3;grafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compa\u0026#xF1;\u0026#xED;as como la American Lithographic Company y la Klingenberg Detmond Company desempe\u0026#xF1;aron un papel fundamental en la producci\u0026#xF3;n de etiquetas cromolitogr\u0026#xE1;ficas de alta calidad que se volver\u0026#xED;an ic\u0026#xF3;nicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atenci\u0026#xF3;n al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hac\u0026#xED;a destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos m\u0026#xE1;s, que aportaron sus propias t\u0026#xE9;cnicas \u0026#xFA;nicas y capacidades art\u0026#xED;sticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compa\u0026#xF1;\u0026#xED;a Litogr\u0026#xE1;fica de La Habana enriqueci\u0026#xF3; a\u0026#xFA;n m\u0026#xE1;s la oferta al enfocarse en dise\u0026#xF1;os que reflejaban la identidad cubana, integrando tradiciones art\u0026#xED;sticas locales con m\u0026#xE9;todos de impresi\u0026#xF3;n contempor\u0026#xE1;neos.\u003c/p\u003e\n","\u003cp\u003eEl aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos or\u0026#xED;genes, mejorando as\u0026#xED; la reputaci\u0026#xF3;n de los cigarros como s\u0026#xED;mbolo de sofisticaci\u0026#xF3;n y estatus. Las etiquetas a menudo presentaban idiomas como espa\u0026#xF1;ol, ingl\u0026#xE9;s, franc\u0026#xE9;s, alem\u0026#xE1;n y muchos m\u0026#xE1;s, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitogr\u0026#xE1;ficas cuentan una rica historia cultural, fusionando la artesan\u0026#xED;a art\u0026#xED;stica con las din\u0026#xE1;micas econ\u0026#xF3;micas y sociales de sus respectivos per\u0026#xED;odos. Se mantendr\u0026#xE1;n como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracci\u0026#xF3;n y est\u0026#xE9;tica de sus cigarros.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros."],"relatedmaterial_html_tesm":["\u003cp\u003eOsterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/."],"scopecontent_html_tesm":["\u003cp\u003eThe Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.\u003c/p\u003e\n","\u003cp\u003e\nLa Colecci\u0026#xF3;n de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colecci\u0026#xF3;n abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitograf\u0026#xED;a. La colecci\u0026#xF3;n contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos art\u0026#xED;sticos que definieron la edad dorada de la industria. Destaca la intrincada artesan\u0026#xED;a de las litograf\u0026#xED;as de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindar\u0026#xED;a a los investigadores la oportunidad de observar el delicado proceso de la imaginer\u0026#xED;a litogr\u0026#xE1;fica en la fabricaci\u0026#xF3;n y comercializaci\u0026#xF3;n de cigarros cubanos.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos."],"userestrict_html_tesm":["\u003cp\u003eRights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7de0ce202f1579f9c58731ee3ee794be\"\u003eCollection of cigar labels from the late 19th century to the early 20th century.\u003c/abstract\u003e"],"abstract_tesim":["Collection of cigar labels from the late 19th century to the early 20th century."],"names_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"corpname_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"language_ssim":["Spanish; Castilian"],"total_component_count_is":217,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844493513621504,"_root_":"1fb60b2a237557e58ed95300","timestamp":"2026-07-16T04:32:23.451Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1fb60b2a237557e58ed95300","title_ssm":["Cigar Label Collection"],"title_tesim":["Cigar Label Collection"],"ead_ssi":"1fb60b2a237557e58ed95300","unitdate_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"unitdate_inclusive_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC6005","/repositories/2/resources/127"],"text":["SPC6005","/repositories/2/resources/127","Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","The collection is open for research.","Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros.","Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.","The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos.","Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.","Collection of cigar labels from the late 19th century to the early 20th century.","FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)","Spanish; Castilian"],"unitid_tesim":["SPC6005","/repositories/2/resources/127"],"normalized_date_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"normalized_title_ssm":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_title_tesim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_ssim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"has_online_content_ssim":["false"],"extent_ssm":["217 items"],"extent_tesim":["217 items"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eOmar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. \u003c/p\u003e\n","\u003cp\u003eWith the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.\u003c/p\u003e\n","\u003cp\u003eAmong the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company, and M.M. Sevis \u0026amp; Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026amp; Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026amp; Company and M.M. Sevis \u0026amp; Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. \u003c/p\u003e\n","\u003cp\u003eThe important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. \u003c/p\u003e\n","\u003cp\u003eThe multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. \u003c/p\u003e\n","\u003cp\u003e\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colecci\u0026#xF3;n de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitograf\u0026#xED;a. Su pasi\u0026#xF3;n por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colecci\u0026#xF3;n.\u003c/p\u003e\n","\u003cp\u003eEstas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este per\u0026#xED;odo. Con el auge de la cromolitograf\u0026#xED;a, que revolucion\u0026#xF3; la producci\u0026#xF3;n de etiquetas en todo el mundo, se permiti\u0026#xF3; la creaci\u0026#xF3;n de dise\u0026#xF1;os ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que tambi\u0026#xE9;n serv\u0026#xED;an como una estrategia de marketing crucial para demostrar la calidad y el artesanado detr\u0026#xE1;s de estos cigarros. Con una colecci\u0026#xF3;n que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio art\u0026#xED;stico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional m\u0026#xE1;s amplio del consumo de cigarros.\u003c/p\u003e\n","\u003cp\u003eEntre los destacados fabricantes que aparecen en esta colecci\u0026#xF3;n de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company y M.M. Sevis \u0026amp; Sons, entre otras peque\u0026#xF1;as empresas menos conocidas. Cada una de estas compa\u0026#xF1;\u0026#xED;as contribuy\u0026#xF3; de manera \u0026#xFA;nica a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes dise\u0026#xF1;os que generalmente incorporaban motivos florales y temas cl\u0026#xE1;sicos, mientras que F. Garcia \u0026amp; Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de im\u0026#xE1;genes audaces y llamativas. Tanto Alfonso Rios \u0026amp; Company como M.M. Sevis \u0026amp; Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginer\u0026#xED;a visual a trav\u0026#xE9;s de etiquetas, utilizando s\u0026#xED;mbolos locales y estilos iconogr\u0026#xE1;ficos art\u0026#xED;sticos que resonaban con los consumidores, tanto nacionales como internacionales.\u003c/p\u003e\n","\u003cp\u003eEl importante papel de los lit\u0026#xF3;grafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compa\u0026#xF1;\u0026#xED;as como la American Lithographic Company y la Klingenberg Detmond Company desempe\u0026#xF1;aron un papel fundamental en la producci\u0026#xF3;n de etiquetas cromolitogr\u0026#xE1;ficas de alta calidad que se volver\u0026#xED;an ic\u0026#xF3;nicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atenci\u0026#xF3;n al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hac\u0026#xED;a destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos m\u0026#xE1;s, que aportaron sus propias t\u0026#xE9;cnicas \u0026#xFA;nicas y capacidades art\u0026#xED;sticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compa\u0026#xF1;\u0026#xED;a Litogr\u0026#xE1;fica de La Habana enriqueci\u0026#xF3; a\u0026#xFA;n m\u0026#xE1;s la oferta al enfocarse en dise\u0026#xF1;os que reflejaban la identidad cubana, integrando tradiciones art\u0026#xED;sticas locales con m\u0026#xE9;todos de impresi\u0026#xF3;n contempor\u0026#xE1;neos.\u003c/p\u003e\n","\u003cp\u003eEl aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos or\u0026#xED;genes, mejorando as\u0026#xED; la reputaci\u0026#xF3;n de los cigarros como s\u0026#xED;mbolo de sofisticaci\u0026#xF3;n y estatus. Las etiquetas a menudo presentaban idiomas como espa\u0026#xF1;ol, ingl\u0026#xE9;s, franc\u0026#xE9;s, alem\u0026#xE1;n y muchos m\u0026#xE1;s, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitogr\u0026#xE1;ficas cuentan una rica historia cultural, fusionando la artesan\u0026#xED;a art\u0026#xED;stica con las din\u0026#xE1;micas econ\u0026#xF3;micas y sociales de sus respectivos per\u0026#xED;odos. Se mantendr\u0026#xE1;n como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracci\u0026#xF3;n y est\u0026#xE9;tica de sus cigarros.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros."],"relatedmaterial_html_tesm":["\u003cp\u003eOsterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/."],"scopecontent_html_tesm":["\u003cp\u003eThe Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.\u003c/p\u003e\n","\u003cp\u003e\nLa Colecci\u0026#xF3;n de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colecci\u0026#xF3;n abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitograf\u0026#xED;a. La colecci\u0026#xF3;n contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos art\u0026#xED;sticos que definieron la edad dorada de la industria. Destaca la intrincada artesan\u0026#xED;a de las litograf\u0026#xED;as de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindar\u0026#xED;a a los investigadores la oportunidad de observar el delicado proceso de la imaginer\u0026#xED;a litogr\u0026#xE1;fica en la fabricaci\u0026#xF3;n y comercializaci\u0026#xF3;n de cigarros cubanos.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos."],"userestrict_html_tesm":["\u003cp\u003eRights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7de0ce202f1579f9c58731ee3ee794be\"\u003eCollection of cigar labels from the late 19th century to the early 20th century.\u003c/abstract\u003e"],"abstract_tesim":["Collection of cigar labels from the late 19th century to the early 20th century."],"names_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"corpname_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"language_ssim":["Spanish; Castilian"],"total_component_count_is":217,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844493513621504,"_root_":"1fb60b2a237557e58ed95300","timestamp":"2026-07-16T04:32:23.451Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300"}},{"id":"f927b9df25ec0aef2ec17101_aspace_7c65a371002071b68d5e070042c80e35","type":"File","attributes":{"title":"Cigarros Trinidad y Hno Gift Book, 1928","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f927b9df25ec0aef2ec17101_aspace_7c65a371002071b68d5e070042c80e35#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_7c65a371002071b68d5e070042c80e35","ref_ssm":["aspace_7c65a371002071b68d5e070042c80e35","aspace_7c65a371002071b68d5e070042c80e35"],"id":"f927b9df25ec0aef2ec17101_aspace_7c65a371002071b68d5e070042c80e35","title_filing_ssi":"Cigarros Trinidad y Hno Gift Book\n","title_ssm":["Cigarros Trinidad y Hno Gift Book\n"],"title_tesim":["Cigarros Trinidad y Hno Gift Book\n"],"unitdate_other_ssim":["1928"],"normalized_date_ssm":["1928"],"normalized_title_ssm":["Cigarros Trinidad y Hno Gift Book, 1928"],"text":["Cigarros Trinidad y Hno Gift Book, 1928","Ramiro Casañas Collection, 1805-2006","Cigars and Tobacco","Box 10","/repositories/2/archival_objects/83253","box 10","folder 13"],"component_level_isim":[3],"parent_ids_ssim":["f927b9df25ec0aef2ec17101","f927b9df25ec0aef2ec17101_aspace_9e41ee962002ecc311c2657dd7f7106b","f927b9df25ec0aef2ec17101_aspace_0464e36651a399e8117df8ffcb90281e"],"parent_unittitles_ssm":["Ramiro Casañas Collection, 1805-2006","Cigars and Tobacco","Box 10"],"parent_unittitles_tesim":["Ramiro Casañas Collection, 1805-2006","Cigars and Tobacco","Box 10"],"parent_levels_ssm":["collection","Series","Other level"],"unitid_ssm":["/repositories/2/archival_objects/83253"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Ramiro Casañas Collection, 1805-2006"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":191,"date_range_isim":[1928],"containers_ssim":["box 10","folder 13"],"_nest_path_":"/components#2/components#0/components#12","_nest_parent_":"f927b9df25ec0aef2ec17101_aspace_0464e36651a399e8117df8ffcb90281e","_root_":"f927b9df25ec0aef2ec17101","_version_":1870844517756698624,"timestamp":"2026-07-16T04:32:46.553Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f927b9df25ec0aef2ec17101","title_ssm":["Ramiro Casañas Collection"],"title_tesim":["Ramiro Casañas Collection"],"ead_ssi":"f927b9df25ec0aef2ec17101","unitdate_ssm":["1805-2006"],"unitdate_inclusive_ssm":["1805-2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC9026","/repositories/2/resources/123"],"text":["SPC9026","/repositories/2/resources/123","Ramiro Casañas Collection, 1805-2006","The Ramiro Casanas Collection is arranged by dominant subject of the featured boxes in each series. Some subjects may appear in other series; for example, Photographs will appear in Sports if the dominant subject of the photograph pertains to Sports. \nOversized Materials feature Photographs, Business and Cigar Signs, Art, Maps, Documents, Genealogical Charts, and Cuban Election Ephemera.","Ramiro O. Casanas was born in Cuba in 1929 to his mother Amelia, who died during his childhood from a heart attack at home before she could travel from Havana to New York, New York for a procedure concerning a pre-existing heart condition. Casanas remained in Cuba under the care of his father, along with his two brothers, Roberto and Luis. \nCasanas grew up playing baseball, and attempted to pursue a career in the sport, but was forced to reconsider when he developed a chronic illness. Instead, he dedicated himself to his studies, attending formal school to further his education and becoming devoted to the study of Cuba's history and its figures. \nHe married his wife Lina, and became the General Manager of a Sulfuric Reclamation Plant, the first of its kind in the Southern Hemisphere. They had a daughter named Linamelia, and lived happily in Cuba until The Cuban Revolution prompted them to escape to America in 1960, where they received immediate residency.\nThe Casanas Family welcomed a son named Rami Jr before relocating to California. It was in California, with its access to public art galleries, museums, and libraries, that Casanas developed his passion for collecting. The family frequented antique shops, flea markets, and tag sales to begin the work of gathering artifacts of value, such as art, coins, and stamps. They would spend the next fifty years buying and selling in fairs and clubs, as well as in the Coral Gables gallery and bookstore he and Lina had opened back in Miami, Florida. \nFor all the collecting the Casanas Family did, they felt it was equally important to give back, dedicating themselves to many philanthropic projects over the years. At the end of his life, Casanas shared his life's accumulation of artifacts among various universities. \nHe spent his last years in the company of Linamelia, traveling and exploring.","The Ramiro Casanas Collection provides a look into the Casanas Family's longtime passion for collecting. The collection's primary focus is on pieces that document Cuban history during the nineteenth and twentieth century. It features Cuban artwork, handwritten poetry, cigar boxes, periodicals, and sports paraphernalia. Also included are artifacts from around the world, such as international banknotes, political ephemera, maps, and photographs.","FIU Special Collections","English Spanish; Castilian"],"unitid_tesim":["SPC9026","/repositories/2/resources/123"],"normalized_date_ssm":["1805-2006"],"normalized_title_ssm":["Ramiro Casañas Collection, 1805-2006"],"collection_title_tesim":["Ramiro Casañas Collection, 1805-2006"],"collection_ssim":["Ramiro Casañas Collection, 1805-2006"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"has_online_content_ssim":["false"],"extent_ssm":["69 boxes"],"extent_tesim":["69 boxes"],"date_range_isim":[1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006],"arrangement_html_tesm":["\u003cp\u003eThe Ramiro Casanas Collection is arranged by dominant subject of the featured boxes in each series. Some subjects may appear in other series; for example, Photographs will appear in Sports if the dominant subject of the photograph pertains to Sports. \nOversized Materials feature Photographs, Business and Cigar Signs, Art, Maps, Documents, Genealogical Charts, and Cuban Election Ephemera.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Ramiro Casanas Collection is arranged by dominant subject of the featured boxes in each series. Some subjects may appear in other series; for example, Photographs will appear in Sports if the dominant subject of the photograph pertains to Sports. \nOversized Materials feature Photographs, Business and Cigar Signs, Art, Maps, Documents, Genealogical Charts, and Cuban Election Ephemera."],"bioghist_html_tesm":["\u003cp\u003eRamiro O. Casanas was born in Cuba in 1929 to his mother Amelia, who died during his childhood from a heart attack at home before she could travel from Havana to New York, New York for a procedure concerning a pre-existing heart condition. Casanas remained in Cuba under the care of his father, along with his two brothers, Roberto and Luis. \nCasanas grew up playing baseball, and attempted to pursue a career in the sport, but was forced to reconsider when he developed a chronic illness. Instead, he dedicated himself to his studies, attending formal school to further his education and becoming devoted to the study of Cuba's history and its figures. \nHe married his wife Lina, and became the General Manager of a Sulfuric Reclamation Plant, the first of its kind in the Southern Hemisphere. They had a daughter named Linamelia, and lived happily in Cuba until The Cuban Revolution prompted them to escape to America in 1960, where they received immediate residency.\nThe Casanas Family welcomed a son named Rami Jr before relocating to California. It was in California, with its access to public art galleries, museums, and libraries, that Casanas developed his passion for collecting. The family frequented antique shops, flea markets, and tag sales to begin the work of gathering artifacts of value, such as art, coins, and stamps. They would spend the next fifty years buying and selling in fairs and clubs, as well as in the Coral Gables gallery and bookstore he and Lina had opened back in Miami, Florida. \nFor all the collecting the Casanas Family did, they felt it was equally important to give back, dedicating themselves to many philanthropic projects over the years. At the end of his life, Casanas shared his life's accumulation of artifacts among various universities. \nHe spent his last years in the company of Linamelia, traveling and exploring.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Ramiro O. Casanas was born in Cuba in 1929 to his mother Amelia, who died during his childhood from a heart attack at home before she could travel from Havana to New York, New York for a procedure concerning a pre-existing heart condition. Casanas remained in Cuba under the care of his father, along with his two brothers, Roberto and Luis. \nCasanas grew up playing baseball, and attempted to pursue a career in the sport, but was forced to reconsider when he developed a chronic illness. Instead, he dedicated himself to his studies, attending formal school to further his education and becoming devoted to the study of Cuba's history and its figures. \nHe married his wife Lina, and became the General Manager of a Sulfuric Reclamation Plant, the first of its kind in the Southern Hemisphere. They had a daughter named Linamelia, and lived happily in Cuba until The Cuban Revolution prompted them to escape to America in 1960, where they received immediate residency.\nThe Casanas Family welcomed a son named Rami Jr before relocating to California. It was in California, with its access to public art galleries, museums, and libraries, that Casanas developed his passion for collecting. The family frequented antique shops, flea markets, and tag sales to begin the work of gathering artifacts of value, such as art, coins, and stamps. They would spend the next fifty years buying and selling in fairs and clubs, as well as in the Coral Gables gallery and bookstore he and Lina had opened back in Miami, Florida. \nFor all the collecting the Casanas Family did, they felt it was equally important to give back, dedicating themselves to many philanthropic projects over the years. At the end of his life, Casanas shared his life's accumulation of artifacts among various universities. \nHe spent his last years in the company of Linamelia, traveling and exploring."],"scopecontent_html_tesm":["\u003cp\u003eThe Ramiro Casanas Collection provides a look into the Casanas Family's longtime passion for collecting. The collection's primary focus is on pieces that document Cuban history during the nineteenth and twentieth century. It features Cuban artwork, handwritten poetry, cigar boxes, periodicals, and sports paraphernalia. Also included are artifacts from around the world, such as international banknotes, political ephemera, maps, and photographs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Ramiro Casanas Collection provides a look into the Casanas Family's longtime passion for collecting. The collection's primary focus is on pieces that document Cuban history during the nineteenth and twentieth century. It features Cuban artwork, handwritten poetry, cigar boxes, periodicals, and sports paraphernalia. Also included are artifacts from around the world, such as international banknotes, political ephemera, maps, and photographs."],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English Spanish; Castilian"],"total_component_count_is":966,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844517756698624,"_root_":"f927b9df25ec0aef2ec17101","timestamp":"2026-07-16T04:32:46.553Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/f927b9df25ec0aef2ec17101_aspace_7c65a371002071b68d5e070042c80e35"}},{"id":"02e6768c8de9bbedcf989f55","type":"collection","attributes":{"title":"Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/02e6768c8de9bbedcf989f55#abstract_or_scope","type":"document_value","attributes":{"value":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/02e6768c8de9bbedcf989f55#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"02e6768c8de9bbedcf989f55","title_ssm":["Cinema Corporation of America Collection"],"title_tesim":["Cinema Corporation of America Collection"],"ead_ssi":"02e6768c8de9bbedcf989f55","unitdate_ssm":["1925-1981","1925-1932"],"unitdate_bulk_ssim":["1925-1932"],"unitdate_inclusive_ssm":["1925-1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2004-008","/repositories/10/resources/515"],"text":["MSS 2004-008","/repositories/10/resources/515","Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters.","This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.","Portions of collection available online?: No","This collection was processed from December 2004-January 2005 by Burt Altman.","The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.","Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.","FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F.","English"],"unitid_tesim":["MSS 2004-008","/repositories/10/resources/515"],"normalized_date_ssm":["1925-1981, bulk 1925-1932"],"normalized_title_ssm":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_title_tesim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_ssim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["The Cinema Corporation of America Collection was given to Special Collections by Mr. Robert Martin in July 2004."],"access_subjects_ssim":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"access_subjects_ssm":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"has_online_content_ssim":["false"],"extent_ssm":["5.70 Linear Feet"],"extent_tesim":["5.70 Linear Feet"],"genreform_ssim":["Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"date_range_isim":[1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_html_tesm":["\u003cp\u003eIn 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n\u003cbr\u003e\u003cbr\u003eFrom 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n\u003cbr\u003e\u003cbr\u003eIn 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n\u003cbr\u003e\u003cbr\u003eDeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n\u003cbr\u003e\u003cbr\u003eThrough the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures."],"originalsloc_html_tesm":["\u003cp\u003ePortions of collection available online?: No\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Portions of collection available online?: No"],"prefercite_html_tesm":["\u003cp\u003eCinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008\u003c/p\u003e"],"prefercite_tesim":["Cinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008"],"processinfo_html_tesm":["\u003cp\u003eThis collection was processed from December 2004-January 2005 by Burt Altman.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection was processed from December 2004-January 2005 by Burt Altman."],"scopecontent_html_tesm":["\u003cp\u003eThe Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s."],"userestrict_html_tesm":["\u003cp\u003eCopyright has not been assigned to the Florida State University Libraries.\n\u003cbr\u003e\u003cbr\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"abstract_html_tesm":["\u003cabstract id=\"aspace_55d7c421357e27123341549dc34b5103\" label=\"Abstract\"\u003eThe Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.\u003c/abstract\u003e"],"abstract_tesim":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"names_coll_ssim":["DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"names_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"corpname_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America"],"persname_ssim":["DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":76,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"02e6768c8de9bbedcf989f55","timestamp":"2026-07-08T11:19:32.323Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"02e6768c8de9bbedcf989f55","title_ssm":["Cinema Corporation of America Collection"],"title_tesim":["Cinema Corporation of America Collection"],"ead_ssi":"02e6768c8de9bbedcf989f55","unitdate_ssm":["1925-1981","1925-1932"],"unitdate_bulk_ssim":["1925-1932"],"unitdate_inclusive_ssm":["1925-1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2004-008","/repositories/10/resources/515"],"text":["MSS 2004-008","/repositories/10/resources/515","Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters.","This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.","Portions of collection available online?: No","This collection was processed from December 2004-January 2005 by Burt Altman.","The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.","Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.","FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F.","English"],"unitid_tesim":["MSS 2004-008","/repositories/10/resources/515"],"normalized_date_ssm":["1925-1981, bulk 1925-1932"],"normalized_title_ssm":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_title_tesim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_ssim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["The Cinema Corporation of America Collection was given to Special Collections by Mr. Robert Martin in July 2004."],"access_subjects_ssim":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"access_subjects_ssm":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"has_online_content_ssim":["false"],"extent_ssm":["5.70 Linear Feet"],"extent_tesim":["5.70 Linear Feet"],"genreform_ssim":["Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"date_range_isim":[1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_html_tesm":["\u003cp\u003eIn 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n\u003cbr\u003e\u003cbr\u003eFrom 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n\u003cbr\u003e\u003cbr\u003eIn 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n\u003cbr\u003e\u003cbr\u003eDeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n\u003cbr\u003e\u003cbr\u003eThrough the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures."],"originalsloc_html_tesm":["\u003cp\u003ePortions of collection available online?: No\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Portions of collection available online?: No"],"prefercite_html_tesm":["\u003cp\u003eCinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008\u003c/p\u003e"],"prefercite_tesim":["Cinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008"],"processinfo_html_tesm":["\u003cp\u003eThis collection was processed from December 2004-January 2005 by Burt Altman.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection was processed from December 2004-January 2005 by Burt Altman."],"scopecontent_html_tesm":["\u003cp\u003eThe Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s."],"userestrict_html_tesm":["\u003cp\u003eCopyright has not been assigned to the Florida State University Libraries.\n\u003cbr\u003e\u003cbr\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"abstract_html_tesm":["\u003cabstract id=\"aspace_55d7c421357e27123341549dc34b5103\" label=\"Abstract\"\u003eThe Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.\u003c/abstract\u003e"],"abstract_tesim":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"names_coll_ssim":["DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"names_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"corpname_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America"],"persname_ssim":["DeMille, Cecil B. 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Some subjects may appear in other series; for example, Photographs will appear in Sports if the dominant subject of the photograph pertains to Sports. \nOversized Materials feature Photographs, Business and Cigar Signs, Art, Maps, Documents, Genealogical Charts, and Cuban Election Ephemera.","Ramiro O. Casanas was born in Cuba in 1929 to his mother Amelia, who died during his childhood from a heart attack at home before she could travel from Havana to New York, New York for a procedure concerning a pre-existing heart condition. Casanas remained in Cuba under the care of his father, along with his two brothers, Roberto and Luis. \nCasanas grew up playing baseball, and attempted to pursue a career in the sport, but was forced to reconsider when he developed a chronic illness. Instead, he dedicated himself to his studies, attending formal school to further his education and becoming devoted to the study of Cuba's history and its figures. \nHe married his wife Lina, and became the General Manager of a Sulfuric Reclamation Plant, the first of its kind in the Southern Hemisphere. They had a daughter named Linamelia, and lived happily in Cuba until The Cuban Revolution prompted them to escape to America in 1960, where they received immediate residency.\nThe Casanas Family welcomed a son named Rami Jr before relocating to California. It was in California, with its access to public art galleries, museums, and libraries, that Casanas developed his passion for collecting. The family frequented antique shops, flea markets, and tag sales to begin the work of gathering artifacts of value, such as art, coins, and stamps. They would spend the next fifty years buying and selling in fairs and clubs, as well as in the Coral Gables gallery and bookstore he and Lina had opened back in Miami, Florida. \nFor all the collecting the Casanas Family did, they felt it was equally important to give back, dedicating themselves to many philanthropic projects over the years. At the end of his life, Casanas shared his life's accumulation of artifacts among various universities. \nHe spent his last years in the company of Linamelia, traveling and exploring.","The Ramiro Casanas Collection provides a look into the Casanas Family's longtime passion for collecting. The collection's primary focus is on pieces that document Cuban history during the nineteenth and twentieth century. It features Cuban artwork, handwritten poetry, cigar boxes, periodicals, and sports paraphernalia. 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Some subjects may appear in other series; for example, Photographs will appear in Sports if the dominant subject of the photograph pertains to Sports. \nOversized Materials feature Photographs, Business and Cigar Signs, Art, Maps, Documents, Genealogical Charts, and Cuban Election Ephemera.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Ramiro Casanas Collection is arranged by dominant subject of the featured boxes in each series. Some subjects may appear in other series; for example, Photographs will appear in Sports if the dominant subject of the photograph pertains to Sports. \nOversized Materials feature Photographs, Business and Cigar Signs, Art, Maps, Documents, Genealogical Charts, and Cuban Election Ephemera."],"bioghist_html_tesm":["\u003cp\u003eRamiro O. 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They had a daughter named Linamelia, and lived happily in Cuba until The Cuban Revolution prompted them to escape to America in 1960, where they received immediate residency.\nThe Casanas Family welcomed a son named Rami Jr before relocating to California. It was in California, with its access to public art galleries, museums, and libraries, that Casanas developed his passion for collecting. The family frequented antique shops, flea markets, and tag sales to begin the work of gathering artifacts of value, such as art, coins, and stamps. They would spend the next fifty years buying and selling in fairs and clubs, as well as in the Coral Gables gallery and bookstore he and Lina had opened back in Miami, Florida. \nFor all the collecting the Casanas Family did, they felt it was equally important to give back, dedicating themselves to many philanthropic projects over the years. 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Instead, he dedicated himself to his studies, attending formal school to further his education and becoming devoted to the study of Cuba's history and its figures. \nHe married his wife Lina, and became the General Manager of a Sulfuric Reclamation Plant, the first of its kind in the Southern Hemisphere. They had a daughter named Linamelia, and lived happily in Cuba until The Cuban Revolution prompted them to escape to America in 1960, where they received immediate residency.\nThe Casanas Family welcomed a son named Rami Jr before relocating to California. It was in California, with its access to public art galleries, museums, and libraries, that Casanas developed his passion for collecting. The family frequented antique shops, flea markets, and tag sales to begin the work of gathering artifacts of value, such as art, coins, and stamps. They would spend the next fifty years buying and selling in fairs and clubs, as well as in the Coral Gables gallery and bookstore he and Lina had opened back in Miami, Florida. \nFor all the collecting the Casanas Family did, they felt it was equally important to give back, dedicating themselves to many philanthropic projects over the years. At the end of his life, Casanas shared his life's accumulation of artifacts among various universities. \nHe spent his last years in the company of Linamelia, traveling and exploring."],"scopecontent_html_tesm":["\u003cp\u003eThe Ramiro Casanas Collection provides a look into the Casanas Family's longtime passion for collecting. The collection's primary focus is on pieces that document Cuban history during the nineteenth and twentieth century. It features Cuban artwork, handwritten poetry, cigar boxes, periodicals, and sports paraphernalia. 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Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.","USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey","English"],"unitid_tesim":["MS-1996-03","/repositories/2/resources/468"],"normalized_date_ssm":["1921-1996, 1996-11-20"],"normalized_title_ssm":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_title_tesim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_ssim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Citrus Park (Fla.) -- History -- 20th Century."],"geogname_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"creator_ssm":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_persname_ssim":["Mohlman, Geoffrey"],"creator_corpname_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"creators_ssim":["Mohlman, Geoffrey","Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"places_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Historic Tampa-Hillsborough County Preservation Board","Donation"],"access_subjects_ssim":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"access_subjects_ssm":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"has_online_content_ssim":["false"],"extent_ssm":["0.21 Linear Feet","2  boxes"],"extent_tesim":["0.21 Linear Feet","2  boxes"],"date_range_isim":[1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accruals_html_tesm":["\u003cp\u003eAdditional documents donated by Geoffrey Mohlman in September 2000.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals and Additions"],"accruals_tesim":["Additional documents donated by Geoffrey Mohlman in September 2000."],"arrangement_html_tesm":["\u003cp\u003eSeries\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Series"],"bioghist_html_tesm":["\u003cp\u003eCitrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eCitrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Citrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eComplete\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Complete"],"relatedmaterial_html_tesm":["\u003cp\u003eHistoric Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Historic Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.\u0026#xA0; Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.  Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_8cca7bf8998605ce0aade733ac0fb40d\" label=\"Abstract\"\u003eCollection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.\u003c/abstract\u003e"],"abstract_tesim":["Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark."],"names_coll_ssim":["Citrus Park Colored School (Citrus Park, Fla.)","Citrus Park Colored School (Citrus Park, Fla.)","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"names_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)"],"persname_ssim":["Mohlman, Geoffrey"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870863131977187328,"_root_":"792b05f55d172a62ab9f2a96","timestamp":"2026-07-16T09:28:38.477Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"792b05f55d172a62ab9f2a96","title_ssm":["Citrus Park Colored School collection"],"title_tesim":["Citrus Park Colored School collection"],"ead_ssi":"792b05f55d172a62ab9f2a96","unitdate_ssm":["1921-1996","1996-11-20"],"unitdate_inclusive_ssm":["1921-1996"],"unitdate_other_ssim":["1996-11-20"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1996-03","/repositories/2/resources/468"],"text":["MS-1996-03","/repositories/2/resources/468","Citrus Park Colored School collection, 1921-1996, 1996-11-20","Citrus Park (Fla.) -- History -- 20th Century.","African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County","Additional documents donated by Geoffrey Mohlman in September 2000.","Series","Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark.","published","Complete","Historic Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.","The collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.  Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.","USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey","English"],"unitid_tesim":["MS-1996-03","/repositories/2/resources/468"],"normalized_date_ssm":["1921-1996, 1996-11-20"],"normalized_title_ssm":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_title_tesim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_ssim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Citrus Park (Fla.) -- History -- 20th Century."],"geogname_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"creator_ssm":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_persname_ssim":["Mohlman, Geoffrey"],"creator_corpname_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"creators_ssim":["Mohlman, Geoffrey","Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"places_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Historic Tampa-Hillsborough County Preservation Board","Donation"],"access_subjects_ssim":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"access_subjects_ssm":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"has_online_content_ssim":["false"],"extent_ssm":["0.21 Linear Feet","2  boxes"],"extent_tesim":["0.21 Linear Feet","2  boxes"],"date_range_isim":[1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accruals_html_tesm":["\u003cp\u003eAdditional documents donated by Geoffrey Mohlman in September 2000.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals and Additions"],"accruals_tesim":["Additional documents donated by Geoffrey Mohlman in September 2000."],"arrangement_html_tesm":["\u003cp\u003eSeries\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Series"],"bioghist_html_tesm":["\u003cp\u003eCitrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eCitrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Citrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eComplete\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Complete"],"relatedmaterial_html_tesm":["\u003cp\u003eHistoric Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Historic Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.\u0026#xA0; Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.  Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_8cca7bf8998605ce0aade733ac0fb40d\" label=\"Abstract\"\u003eCollection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.\u003c/abstract\u003e"],"abstract_tesim":["Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark."],"names_coll_ssim":["Citrus Park Colored School (Citrus Park, Fla.)","Citrus Park Colored School (Citrus Park, Fla.)","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"names_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)"],"persname_ssim":["Mohlman, Geoffrey"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870863131977187328,"_root_":"792b05f55d172a62ab9f2a96","timestamp":"2026-07-16T09:28:38.477Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/792b05f55d172a62ab9f2a96"}},{"id":"07bc054fadb6f282f5fac782_aspace_09e64f2155c6ed5ceea24400805f05b9","type":"Item","attributes":{"title":"City Court Docket, Case Nos.13098-15509, September 30, 1927-January 28, 1929","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/07bc054fadb6f282f5fac782_aspace_09e64f2155c6ed5ceea24400805f05b9#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_09e64f2155c6ed5ceea24400805f05b9","ref_ssm":["aspace_09e64f2155c6ed5ceea24400805f05b9","aspace_09e64f2155c6ed5ceea24400805f05b9"],"id":"07bc054fadb6f282f5fac782_aspace_09e64f2155c6ed5ceea24400805f05b9","title_filing_ssi":"City Court Docket, Case Nos.13098-15509","title_ssm":["City Court Docket, Case Nos.13098-15509"],"title_tesim":["City Court Docket, Case Nos.13098-15509"],"unitdate_inclusive_ssm":["September 30, 1927-January 28, 1929"],"normalized_date_ssm":["September 30, 1927-January 28, 1929"],"normalized_title_ssm":["City Court Docket, Case Nos.13098-15509, September 30, 1927-January 28, 1929"],"text":["City Court Docket, Case Nos.13098-15509, September 30, 1927-January 28, 1929","Sanford Municipal Court Records, 1920-1972","Municipal Court Dockets, 1920-1972","5","/repositories/4/archival_objects/54144","English","Volume 5"],"component_level_isim":[2],"parent_ids_ssim":["07bc054fadb6f282f5fac782","07bc054fadb6f282f5fac782_aspace_45f78cbd1bd965240ad8873611bbdff6"],"parent_unittitles_ssm":["Sanford Municipal Court Records, 1920-1972","Municipal Court Dockets, 1920-1972"],"parent_unittitles_tesim":["Sanford Municipal Court Records, 1920-1972","Municipal Court Dockets, 1920-1972"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["5","/repositories/4/archival_objects/54144"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Sanford Municipal Court Records, 1920-1972"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":6,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"date_range_isim":[1927,1928,1929],"language_ssim":["English"],"containers_ssim":["Volume 5"],"_nest_path_":"/components#0/components#4","_nest_parent_":"07bc054fadb6f282f5fac782_aspace_45f78cbd1bd965240ad8873611bbdff6","_root_":"07bc054fadb6f282f5fac782","_version_":1870857763593125888,"timestamp":"2026-07-16T08:03:18.787Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"07bc054fadb6f282f5fac782","title_ssm":["Sanford Municipal Court Records"],"title_tesim":["Sanford Municipal Court Records"],"ead_ssi":"07bc054fadb6f282f5fac782","unitdate_ssm":["1920-1972"],"unitdate_inclusive_ssm":["1920-1972"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.114","/repositories/4/resources/205"],"text":["SC.114","/repositories/4/resources/205","Sanford Municipal Court Records, 1920-1972","Sanford (Fla.)","Court records -- Florida -- Seminole County","Crime -- Florida -- Seminole County","Court calendars -- Florida -- Seminole County","Municipal courts -- Florida -- Seminole County","Police reports -- Florida -- Seminole County","dockets","judicial records","The entire collection is open for research.","Sanford was founded by Henry Shelton Sanford and incorporated in 1877. Henry Sanford had hoped to make his city the seat of the county, which was Mellonville at the time. In 1883 Mellonville was annexed to the city of Sanford, effectively ending its tenure as county seat. However, this did not result in Sanford becoming the county seat.","\nHenry Sanford died on May 21, 1891, leaving Gertrude Ellen DuPuy Sanford, his wife, to settle their many debts. Twenty-two years after his death, Henry Sanford's dream came true. On April 25, 1913 Sanford was established as the county seat, the same day Seminole County was established.","\nFlorida had a very extensive and complex court system comprised of no less than sixteen different types of court until 1972, when Article V was revised. With the 1972 revisions, the Office of the State Courts Administrator (OSCA) was created and tasked to create uniformity across the Florida court system, and all courts were broken between the new two-tier system. The new court system, still in use in 2019, consists of County and Circuit Courts. Most courts outside of the two tiers were gone by 1973, and those that remained were definitively gone by 1977.","\nThe Sanford Municipal court was instated in 1923 as a part of the City Charter of the City of Sanford Passed by the Legislature of Florida. In the same document, it orders a docket to be kept to record all proceedings. The dockets in this collection begin their records before 1923, beginning with cases in 1920 and ending with cases from 1972. This Municipal Court was part of Florida's Middle District, which stretches in a diagonal from Nassau to Collier Counties. As a municipal court, the Sanford Municipal court was designated to have power over one city, Sanford. It handled cases of traffic violations, small claims, small conflicts, and the like.","\nThe Sanford Police Dockets within this collection begin thirteen years after the establishment of Sanford as the county seat. A police docket was not required by the City Charter in 1923. These documents were for the police's use as an index of cases. The police dockets cover cases from 1926 to 1946.","\nThe Jail Records likewise act as an index of persons who went to jail. They begin recording in 1924, and those within the collection end recording 1942.","\nCity Charter of the City of Sanford, Florida, Passed by the Legislature of Florida, 1923. 1923. Tallahassee, Fla.: T. J. Appleyard.","\nEighteenth Judicial Circuit of Florida. \"History of the Eighteenth Circuit: Our Story.\" Accessed June 19, 2019.","\nFlorida Courts, \"History of Court Processes, Programs, and Initiatives.\" Accessed June 20, 2019.","\nFlorida Courts, \"Trial Courts - Circuit\" Accessed June 4, 2019.","\nOffice of the State Courts Administrator, Florida. \"Short History of the Florida State Courts System Processes, Programs, and Initiatives.\" 2016. PDF. ","\nRobinson, Jim, and Mark Andrews. Flashbacks: The Story of Central Florida's Past. Orlando, Florida: The Orange County Historical Society and the Orlando Sentinel, 1995.","\nSanford Museum. \"Gen Henry Shelton Sanford.\" Accessed June 19, 2019.","\nThe City of Sanford. \"History and Historic Preservation.\" Accessed June 19, 2019.","\nWhitner, J. N. The Tale of a Mosquito: A Story of Early Sanford, Florida. The Sanford Historical Society Inc., 2000.","Loose items between pages of the dockets must remain in their original locations within the Dockets.","Manuscript records are organized in chronological order within the series. Each bound volume individually wrapped with acid-free heavy duty paper and tied with cotton tying tape.","For more information, please see our website.","The collection is divided into three series. All the volumes are the records taken by the City of Sanford, Florida and the police in regard to court cases and arrests in Sanford, Florida. The cases recorded in the three separate volumes overlap with the cases recorded with each one containing a different amount or specific type of information.","\nSeries I, Municipal Court Dockets arranged by date and case number. The dockets dates range from January 12, 1920 to December 29, 1972 and are separated into 53 separate volumes. The individual dockets start with an index alphabetizing the cases by last name of the defendant. Then the docket goes in case order three to a page. The records record the name of the defendant, the charges against them, the date the hearing was held, and the result and/or fine from the case in question. The charges recorded are small misdemeanors ranging from driving under influence or the use of illegal substances. These are the records recorded for the filing of the local Sanford court or governmental body.","\nSeries II, Police Dockets are arranged by date and case number. The records date from July 16, 1926 to April 13, 1946 and are separated into 4 volumes. Three of the volumes starts with an index that is arranged alphabetically; however, the last volume contains no such index. Following the index is the individual cases which are set to four to a page and record the individual, the date of the citation, the name of the arresting officer, the charges, and the result (Ex. If the case was dismissed or fine designated). These are the records created and held by the police for their own individual filling.","\nSeries III, Jail Records are arranged by date though the dates of the three volumes overlap. The records date from April 25, 1924 to January 4, 1943 with the second record overlapping with the dates February 2, 1942 to May 4, 1942. Each volume is a spread sheet that goes by date and case number order. They record the individual, the case, the number of days sentenced, the fine or bail posted, the date it was paid and whether the sentence was served or dismissed. These records are only in the case of jail sentencing for misdemeanors and do not exceed the maximum time for those cases.","Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.","This collection contains bound manuscript volumes from the City of Sanford which includes fifty-three municipal court dockets (January 12, 1920-December 29, 1972); four police dockets (July 16, 1926-April 13, 1946); and 3 jail records (April 25, 1924-May 4, 1942).","UCF Special Collections","English"],"unitid_tesim":["SC.114","/repositories/4/resources/205"],"normalized_date_ssm":["1920-1972"],"normalized_title_ssm":["Sanford Municipal Court Records, 1920-1972"],"collection_title_tesim":["Sanford Municipal Court Records, 1920-1972"],"collection_ssim":["Sanford Municipal Court Records, 1920-1972"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Sanford (Fla.)"],"geogname_ssim":["Sanford (Fla.)"],"places_ssim":["Sanford (Fla.)"],"access_terms_ssm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["City of Sanford donated these materials to the University of Central Florida Libraries, Special Collections and University Archives in 2018. (CFM2018_16)"],"access_subjects_ssim":["Court records -- Florida -- Seminole County","Crime -- Florida -- Seminole County","Court calendars -- Florida -- Seminole County","Municipal courts -- Florida -- Seminole County","Police reports -- Florida -- Seminole County","dockets","judicial records"],"access_subjects_ssm":["Court records -- Florida -- Seminole County","Crime -- Florida -- Seminole County","Court calendars -- Florida -- Seminole County","Municipal courts -- Florida -- Seminole County","Police reports -- Florida -- Seminole County","dockets","judicial records"],"has_online_content_ssim":["false"],"extent_ssm":["18 Linear Feet"],"extent_tesim":["18 Linear Feet"],"genreform_ssim":["dockets","judicial records"],"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],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eSanford was founded by Henry Shelton Sanford and incorporated in 1877. Henry Sanford had hoped to make his city the seat of the county, which was Mellonville at the time. In 1883 Mellonville was annexed to the city of Sanford, effectively ending its tenure as county seat. However, this did not result in Sanford becoming the county seat.\u003c/p\u003e\n","\u003cp\u003e\nHenry Sanford died on May 21, 1891, leaving Gertrude Ellen DuPuy Sanford, his wife, to settle their many debts. Twenty-two years after his death, Henry Sanford's dream came true. On April 25, 1913 Sanford was established as the county seat, the same day Seminole County was established.\u003c/p\u003e\n","\u003cp\u003e\nFlorida had a very extensive and complex court system comprised of no less than sixteen different types of court until 1972, when Article V was revised. With the 1972 revisions, the Office of the State Courts Administrator (OSCA) was created and tasked to create uniformity across the Florida court system, and all courts were broken between the new two-tier system. The new court system, still in use in 2019, consists of County and Circuit Courts. Most courts outside of the two tiers were gone by 1973, and those that remained were definitively gone by 1977.\u003c/p\u003e\n","\u003cp\u003e\nThe Sanford Municipal court was instated in 1923 as a part of the City Charter of the City of Sanford Passed by the Legislature of Florida. In the same document, it orders a docket to be kept to record all proceedings. The dockets in this collection begin their records before 1923, beginning with cases in 1920 and ending with cases from 1972. This Municipal Court was part of Florida's Middle District, which stretches in a diagonal from Nassau to Collier Counties. As a municipal court, the Sanford Municipal court was designated to have power over one city, Sanford. It handled cases of traffic violations, small claims, small conflicts, and the like.\u003c/p\u003e\n","\u003cp\u003e\nThe Sanford Police Dockets within this collection begin thirteen years after the establishment of Sanford as the county seat. A police docket was not required by the City Charter in 1923. These documents were for the police's use as an index of cases. The police dockets cover cases from 1926 to 1946.\u003c/p\u003e\n","\u003cp\u003e\nThe Jail Records likewise act as an index of persons who went to jail. They begin recording in 1924, and those within the collection end recording 1942.\u003c/p\u003e\n","\u003cp\u003e\nCity Charter of the City of Sanford, Florida, Passed by the Legislature of Florida, 1923. 1923. Tallahassee, Fla.: T. J. Appleyard.\u003c/p\u003e\n","\u003cp\u003e\nEighteenth Judicial Circuit of Florida. \"History of the Eighteenth Circuit: Our Story.\" Accessed June 19, 2019.\u003c/p\u003e\n","\u003cp\u003e\nFlorida Courts, \"History of Court Processes, Programs, and Initiatives.\" Accessed June 20, 2019.\u003c/p\u003e\n","\u003cp\u003e\nFlorida Courts, \"Trial Courts - Circuit\" Accessed June 4, 2019.\u003c/p\u003e\n","\u003cp\u003e\nOffice of the State Courts Administrator, Florida. \"Short History of the Florida State Courts System Processes, Programs, and Initiatives.\" 2016. PDF. \u003c/p\u003e\n","\u003cp\u003e\nRobinson, Jim, and Mark Andrews. Flashbacks: The Story of Central Florida's Past. Orlando, Florida: The Orange County Historical Society and the Orlando Sentinel, 1995.\u003c/p\u003e\n","\u003cp\u003e\nSanford Museum. \"Gen Henry Shelton Sanford.\" Accessed June 19, 2019.\u003c/p\u003e\n","\u003cp\u003e\nThe City of Sanford. \"History and Historic Preservation.\" Accessed June 19, 2019.\u003c/p\u003e\n","\u003cp\u003e\nWhitner, J. N. The Tale of a Mosquito: A Story of Early Sanford, Florida. The Sanford Historical Society Inc., 2000.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Sanford was founded by Henry Shelton Sanford and incorporated in 1877. Henry Sanford had hoped to make his city the seat of the county, which was Mellonville at the time. In 1883 Mellonville was annexed to the city of Sanford, effectively ending its tenure as county seat. However, this did not result in Sanford becoming the county seat.","\nHenry Sanford died on May 21, 1891, leaving Gertrude Ellen DuPuy Sanford, his wife, to settle their many debts. Twenty-two years after his death, Henry Sanford's dream came true. On April 25, 1913 Sanford was established as the county seat, the same day Seminole County was established.","\nFlorida had a very extensive and complex court system comprised of no less than sixteen different types of court until 1972, when Article V was revised. With the 1972 revisions, the Office of the State Courts Administrator (OSCA) was created and tasked to create uniformity across the Florida court system, and all courts were broken between the new two-tier system. The new court system, still in use in 2019, consists of County and Circuit Courts. Most courts outside of the two tiers were gone by 1973, and those that remained were definitively gone by 1977.","\nThe Sanford Municipal court was instated in 1923 as a part of the City Charter of the City of Sanford Passed by the Legislature of Florida. In the same document, it orders a docket to be kept to record all proceedings. The dockets in this collection begin their records before 1923, beginning with cases in 1920 and ending with cases from 1972. This Municipal Court was part of Florida's Middle District, which stretches in a diagonal from Nassau to Collier Counties. As a municipal court, the Sanford Municipal court was designated to have power over one city, Sanford. It handled cases of traffic violations, small claims, small conflicts, and the like.","\nThe Sanford Police Dockets within this collection begin thirteen years after the establishment of Sanford as the county seat. A police docket was not required by the City Charter in 1923. These documents were for the police's use as an index of cases. The police dockets cover cases from 1926 to 1946.","\nThe Jail Records likewise act as an index of persons who went to jail. They begin recording in 1924, and those within the collection end recording 1942.","\nCity Charter of the City of Sanford, Florida, Passed by the Legislature of Florida, 1923. 1923. Tallahassee, Fla.: T. J. Appleyard.","\nEighteenth Judicial Circuit of Florida. \"History of the Eighteenth Circuit: Our Story.\" Accessed June 19, 2019.","\nFlorida Courts, \"History of Court Processes, Programs, and Initiatives.\" Accessed June 20, 2019.","\nFlorida Courts, \"Trial Courts - Circuit\" Accessed June 4, 2019.","\nOffice of the State Courts Administrator, Florida. \"Short History of the Florida State Courts System Processes, Programs, and Initiatives.\" 2016. PDF. ","\nRobinson, Jim, and Mark Andrews. Flashbacks: The Story of Central Florida's Past. Orlando, Florida: The Orange County Historical Society and the Orlando Sentinel, 1995.","\nSanford Museum. \"Gen Henry Shelton Sanford.\" Accessed June 19, 2019.","\nThe City of Sanford. \"History and Historic Preservation.\" Accessed June 19, 2019.","\nWhitner, J. N. The Tale of a Mosquito: A Story of Early Sanford, Florida. The Sanford Historical Society Inc., 2000."],"odd_html_tesm":["\u003cp\u003eLoose items between pages of the dockets must remain in their original locations within the Dockets.\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["Loose items between pages of the dockets must remain in their original locations within the Dockets."],"prefercite_html_tesm":["\u003cp\u003eSanford Municipal Court Records, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Sanford Municipal Court Records, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eManuscript records are organized in chronological order within the series. Each bound volume individually wrapped with acid-free heavy duty paper and tied with cotton tying tape.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Manuscript records are organized in chronological order within the series. Each bound volume individually wrapped with acid-free heavy duty paper and tied with cotton tying tape."],"relatedmaterial_html_tesm":["\u003cp\u003eFor more information, please see our website.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["For more information, please see our website."],"scopecontent_html_tesm":["\u003cp\u003eThe collection is divided into three series. All the volumes are the records taken by the City of Sanford, Florida and the police in regard to court cases and arrests in Sanford, Florida. The cases recorded in the three separate volumes overlap with the cases recorded with each one containing a different amount or specific type of information.\u003c/p\u003e\n","\u003cp\u003e\nSeries I, Municipal Court Dockets arranged by date and case number. The dockets dates range from January 12, 1920 to December 29, 1972 and are separated into 53 separate volumes. The individual dockets start with an index alphabetizing the cases by last name of the defendant. Then the docket goes in case order three to a page. The records record the name of the defendant, the charges against them, the date the hearing was held, and the result and/or fine from the case in question. The charges recorded are small misdemeanors ranging from driving under influence or the use of illegal substances. These are the records recorded for the filing of the local Sanford court or governmental body.\u003c/p\u003e\n","\u003cp\u003e\nSeries II, Police Dockets are arranged by date and case number. The records date from July 16, 1926 to April 13, 1946 and are separated into 4 volumes. Three of the volumes starts with an index that is arranged alphabetically; however, the last volume contains no such index. Following the index is the individual cases which are set to four to a page and record the individual, the date of the citation, the name of the arresting officer, the charges, and the result (Ex. If the case was dismissed or fine designated). These are the records created and held by the police for their own individual filling.\u003c/p\u003e\n","\u003cp\u003e\nSeries III, Jail Records are arranged by date though the dates of the three volumes overlap. The records date from April 25, 1924 to January 4, 1943 with the second record overlapping with the dates February 2, 1942 to May 4, 1942. Each volume is a spread sheet that goes by date and case number order. They record the individual, the case, the number of days sentenced, the fine or bail posted, the date it was paid and whether the sentence was served or dismissed. These records are only in the case of jail sentencing for misdemeanors and do not exceed the maximum time for those cases.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection is divided into three series. All the volumes are the records taken by the City of Sanford, Florida and the police in regard to court cases and arrests in Sanford, Florida. The cases recorded in the three separate volumes overlap with the cases recorded with each one containing a different amount or specific type of information.","\nSeries I, Municipal Court Dockets arranged by date and case number. The dockets dates range from January 12, 1920 to December 29, 1972 and are separated into 53 separate volumes. The individual dockets start with an index alphabetizing the cases by last name of the defendant. Then the docket goes in case order three to a page. The records record the name of the defendant, the charges against them, the date the hearing was held, and the result and/or fine from the case in question. The charges recorded are small misdemeanors ranging from driving under influence or the use of illegal substances. These are the records recorded for the filing of the local Sanford court or governmental body.","\nSeries II, Police Dockets are arranged by date and case number. The records date from July 16, 1926 to April 13, 1946 and are separated into 4 volumes. Three of the volumes starts with an index that is arranged alphabetically; however, the last volume contains no such index. Following the index is the individual cases which are set to four to a page and record the individual, the date of the citation, the name of the arresting officer, the charges, and the result (Ex. If the case was dismissed or fine designated). These are the records created and held by the police for their own individual filling.","\nSeries III, Jail Records are arranged by date though the dates of the three volumes overlap. The records date from April 25, 1924 to January 4, 1943 with the second record overlapping with the dates February 2, 1942 to May 4, 1942. Each volume is a spread sheet that goes by date and case number order. They record the individual, the case, the number of days sentenced, the fine or bail posted, the date it was paid and whether the sentence was served or dismissed. These records are only in the case of jail sentencing for misdemeanors and do not exceed the maximum time for those cases."],"userestrict_html_tesm":["\u003cp\u003eUnpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_99ea81fcfceabec4bb788221de74b426\"\u003eThis collection contains bound manuscript volumes from the City of Sanford which includes fifty-three municipal court dockets (January 12, 1920-December 29, 1972); four police dockets (July 16, 1926-April 13, 1946); and 3 jail records (April 25, 1924-May 4, 1942).\u003c/abstract\u003e"],"abstract_tesim":["This collection contains bound manuscript volumes from the City of Sanford which includes fifty-three municipal court dockets (January 12, 1920-December 29, 1972); four police dockets (July 16, 1926-April 13, 1946); and 3 jail records (April 25, 1924-May 4, 1942)."],"names_ssim":["UCF Special Collections"],"corpname_ssim":["UCF Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":63,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857763593125888,"_root_":"07bc054fadb6f282f5fac782","timestamp":"2026-07-16T08:03:18.787Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/07bc054fadb6f282f5fac782_aspace_09e64f2155c6ed5ceea24400805f05b9"}},{"id":"2d044bb929e2300f4d627e09","type":"collection","attributes":{"title":"City of Brandon collection, 1848-2005","creator":{"id":"https://flvc.lyrasistechnology.org/catalog/2d044bb929e2300f4d627e09#creator","type":"document_value","attributes":{"value":["Greater Brandon Chamber of Commerce"],"label":"Creator"}},"abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/2d044bb929e2300f4d627e09#abstract_or_scope","type":"document_value","attributes":{"value":["This collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2d044bb929e2300f4d627e09#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"2d044bb929e2300f4d627e09","title_ssm":["City of Brandon collection"],"title_tesim":["City of Brandon collection"],"ead_ssi":"2d044bb929e2300f4d627e09","unitdate_ssm":["1848-2005"],"unitdate_inclusive_ssm":["1848-2005"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS.2026.09","/repositories/2/resources/778"],"text":["MS.2026.09","/repositories/2/resources/778","City of Brandon collection, 1848-2005","Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century.","Florida -- History, Local","Schools -- Florida -- Hillsborough County","None.","The collection is arranged by subjects, alphabetically.","Brandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.","Sources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026.","This collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s.","None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information","This collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century.","USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce","English"],"unitid_tesim":["MS.2026.09","/repositories/2/resources/778"],"normalized_date_ssm":["1848-2005"],"normalized_title_ssm":["City of Brandon collection, 1848-2005"],"collection_title_tesim":["City of Brandon collection, 1848-2005"],"collection_ssim":["City of Brandon collection, 1848-2005"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"geogname_ssim":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"creator_ssm":["Greater Brandon Chamber of Commerce"],"creator_ssim":["Greater Brandon Chamber of Commerce"],"creator_corpname_ssim":["Greater Brandon Chamber of Commerce"],"creators_ssim":["Greater Brandon Chamber of Commerce"],"places_ssim":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"access_terms_ssm":["None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information"],"acqinfo_ssim":["Unknown."],"access_subjects_ssim":["Florida -- History, Local","Schools -- Florida -- Hillsborough County"],"access_subjects_ssm":["Florida -- History, Local","Schools -- Florida -- Hillsborough County"],"has_online_content_ssim":["false"],"extent_ssm":["0.42 Linear Feet","1 boxes 1 Hollinger box"],"extent_tesim":["0.42 Linear Feet","1 boxes 1 Hollinger box"],"date_range_isim":[1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["None."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged by subjects, alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged by subjects, alphabetically."],"bioghist_html_tesm":["\u003cp\u003eBrandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.\u003c/p\u003e\n","\u003cp\u003eSources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Brandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.","Sources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026."],"prefercite_html_tesm":["\u003cp\u003eBrandon City collection, USF Libraries \u0026#x2013; Tampa Special Collections, University of South Florida, Tampa, FL\u003c/p\u003e"],"prefercite_tesim":["Brandon City collection, USF Libraries – Tampa Special Collections, University of South Florida, Tampa, FL"],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s."],"userestrict_html_tesm":["\u003cp\u003eNone. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information"],"abstract_html_tesm":["\u003cabstract id=\"aspace_e1f148e713629edb83c8cfdc9b2344e5\"\u003eThis collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century."],"names_ssim":["USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1876388803887759360,"_root_":"2d044bb929e2300f4d627e09","timestamp":"2026-09-15T09:16:49.860Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2d044bb929e2300f4d627e09","title_ssm":["City of Brandon collection"],"title_tesim":["City of Brandon collection"],"ead_ssi":"2d044bb929e2300f4d627e09","unitdate_ssm":["1848-2005"],"unitdate_inclusive_ssm":["1848-2005"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS.2026.09","/repositories/2/resources/778"],"text":["MS.2026.09","/repositories/2/resources/778","City of Brandon collection, 1848-2005","Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century.","Florida -- History, Local","Schools -- Florida -- Hillsborough County","None.","The collection is arranged by subjects, alphabetically.","Brandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.","Sources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026.","This collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s.","None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information","This collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century.","USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce","English"],"unitid_tesim":["MS.2026.09","/repositories/2/resources/778"],"normalized_date_ssm":["1848-2005"],"normalized_title_ssm":["City of Brandon collection, 1848-2005"],"collection_title_tesim":["City of Brandon collection, 1848-2005"],"collection_ssim":["City of Brandon collection, 1848-2005"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"geogname_ssim":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"creator_ssm":["Greater Brandon Chamber of Commerce"],"creator_ssim":["Greater Brandon Chamber of Commerce"],"creator_corpname_ssim":["Greater Brandon Chamber of Commerce"],"creators_ssim":["Greater Brandon Chamber of Commerce"],"places_ssim":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"access_terms_ssm":["None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information"],"acqinfo_ssim":["Unknown."],"access_subjects_ssim":["Florida -- History, Local","Schools -- Florida -- Hillsborough County"],"access_subjects_ssm":["Florida -- History, Local","Schools -- Florida -- Hillsborough County"],"has_online_content_ssim":["false"],"extent_ssm":["0.42 Linear Feet","1 boxes 1 Hollinger box"],"extent_tesim":["0.42 Linear Feet","1 boxes 1 Hollinger box"],"date_range_isim":[1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["None."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged by subjects, alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged by subjects, alphabetically."],"bioghist_html_tesm":["\u003cp\u003eBrandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.\u003c/p\u003e\n","\u003cp\u003eSources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Brandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.","Sources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026."],"prefercite_html_tesm":["\u003cp\u003eBrandon City collection, USF Libraries \u0026#x2013; Tampa Special Collections, University of South Florida, Tampa, FL\u003c/p\u003e"],"prefercite_tesim":["Brandon City collection, USF Libraries – Tampa Special Collections, University of South Florida, Tampa, FL"],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s."],"userestrict_html_tesm":["\u003cp\u003eNone. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information"],"abstract_html_tesm":["\u003cabstract id=\"aspace_e1f148e713629edb83c8cfdc9b2344e5\"\u003eThis collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century."],"names_ssim":["USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1876388803887759360,"_root_":"2d044bb929e2300f4d627e09","timestamp":"2026-09-15T09:16:49.860Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2d044bb929e2300f4d627e09"}},{"id":"4ecda0709189a1ef8ee3f62e","type":"collection","attributes":{"title":"Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974","creator":{"id":"https://flvc.lyrasistechnology.org/catalog/4ecda0709189a1ef8ee3f62e#creator","type":"document_value","attributes":{"value":["Fowler, Cody, 1892-1978"],"label":"Creator"}},"abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/4ecda0709189a1ef8ee3f62e#abstract_or_scope","type":"document_value","attributes":{"value":["This collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL. ***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/4ecda0709189a1ef8ee3f62e#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"4ecda0709189a1ef8ee3f62e","title_filing_ssi":"Civil Rights Papers of Cody Fowler and Steven Lawson","title_ssm":["Civil Rights Papers of Cody Fowler and Steven Lawson"],"title_tesim":["Civil Rights Papers of Cody Fowler and Steven Lawson"],"ead_ssi":"4ecda0709189a1ef8ee3f62e","unitdate_ssm":["1888-1974","1960-1974"],"unitdate_bulk_ssim":["1960-1974"],"unitdate_inclusive_ssm":["1888-1974"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["F26","/repositories/2/resources/573"],"text":["F26","/repositories/2/resources/573","Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974","Tampa (Fla.) -- Race relations.","African Americans -- Civil rights -- Florida -- Tampa -- History","Arranged by series.","Born in Arlington, Tennessee, Cody Fowler arrived in Tampa, Florida in 1924 as a young lawyer eager to make a difference. Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 – his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts – something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association – the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. ","Fowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.","Steven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in  Southern Businessmen and Desegregation , 1982. ","Subsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.","Selected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee, Friends of the Riverwalk.","Progress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.","Many of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns.","None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.","This collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***","USF Libraries - Tampa Special Collections","Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)","English"],"unitid_tesim":["F26","/repositories/2/resources/573"],"normalized_date_ssm":["1888-1974, bulk 1960-1974"],"normalized_title_ssm":["Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974"],"collection_title_tesim":["Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974"],"collection_ssim":["Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.) -- Race relations."],"geogname_ssim":["Tampa (Fla.) -- Race relations."],"creator_ssm":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"creator_ssim":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"creator_persname_ssim":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"creators_ssim":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"places_ssim":["Tampa (Fla.) -- Race relations."],"access_terms_ssm":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"acqinfo_ssim":["Steven Lawson","Cody Fowler","Donated in conjunction with the Progress Village records."],"access_subjects_ssim":["African Americans -- Civil rights -- Florida -- Tampa -- History"],"access_subjects_ssm":["African Americans -- Civil rights -- Florida -- Tampa -- History"],"has_online_content_ssim":["false"],"extent_ssm":["4.59 Linear Feet","10 boxes"],"extent_tesim":["4.59 Linear Feet","10 boxes"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974],"arrangement_html_tesm":["\u003cp\u003eArranged by series.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Arranged by series."],"bioghist_html_tesm":["\u003cp\u003eBorn in Arlington, Tennessee, Cody Fowler arrived in Tampa, Florida in 1924 as a young lawyer eager to make a difference. Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 \u0026#x2013; his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts \u0026#x2013; something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association \u0026#x2013; the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. \u003c/p\u003e\n","\u003cp\u003eFowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.\u003c/p\u003e\n","\u003cp\u003eSteven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in \u003cemph render=\"italic\"\u003eSouthern Businessmen and Desegregation\u003c/emph\u003e, 1982. \u003c/p\u003e\n","\u003cp\u003eSubsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.\u003c/p\u003e\n","\u003cp\u003eSelected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee,\u0026#xA0;Friends of the Riverwalk.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Born in Arlington, Tennessee, Cody Fowler arrived in Tampa, Florida in 1924 as a young lawyer eager to make a difference. Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 – his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts – something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association – the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. ","Fowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.","Steven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in  Southern Businessmen and Desegregation , 1982. ","Subsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.","Selected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee, Friends of the Riverwalk."],"prefercite_html_tesm":["\u003cp\u003eThe civil rights papers of Cody Fowler and Steven Lawson, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["The civil rights papers of Cody Fowler and Steven Lawson, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eProgress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Progress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMany of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Many of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of this collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_3abe5c2d17e88edd0120ab3bf0662503\" label=\"Abstract\"\u003eThis collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***"],"names_ssim":["USF Libraries - Tampa Special Collections","Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":96,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"4ecda0709189a1ef8ee3f62e","timestamp":"2026-05-27T03:16:31.366Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"4ecda0709189a1ef8ee3f62e","title_filing_ssi":"Civil Rights Papers of Cody Fowler and Steven Lawson","title_ssm":["Civil Rights Papers of Cody Fowler and Steven Lawson"],"title_tesim":["Civil Rights Papers of Cody Fowler and Steven Lawson"],"ead_ssi":"4ecda0709189a1ef8ee3f62e","unitdate_ssm":["1888-1974","1960-1974"],"unitdate_bulk_ssim":["1960-1974"],"unitdate_inclusive_ssm":["1888-1974"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["F26","/repositories/2/resources/573"],"text":["F26","/repositories/2/resources/573","Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974","Tampa (Fla.) -- Race relations.","African Americans -- Civil rights -- Florida -- Tampa -- History","Arranged by series.","Born in Arlington, Tennessee, Cody Fowler arrived in Tampa, Florida in 1924 as a young lawyer eager to make a difference. Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 – his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts – something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association – the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. ","Fowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.","Steven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in  Southern Businessmen and Desegregation , 1982. ","Subsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.","Selected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee, Friends of the Riverwalk.","Progress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.","Many of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns.","None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.","This collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***","USF Libraries - Tampa Special Collections","Fowler, Cody, 1892-1978","Lawson, Steven F. 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Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 \u0026#x2013; his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts \u0026#x2013; something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association \u0026#x2013; the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. \u003c/p\u003e\n","\u003cp\u003eFowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.\u003c/p\u003e\n","\u003cp\u003eSteven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in \u003cemph render=\"italic\"\u003eSouthern Businessmen and Desegregation\u003c/emph\u003e, 1982. \u003c/p\u003e\n","\u003cp\u003eSubsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.\u003c/p\u003e\n","\u003cp\u003eSelected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee,\u0026#xA0;Friends of the Riverwalk.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Born in Arlington, Tennessee, Cody Fowler arrived in Tampa, Florida in 1924 as a young lawyer eager to make a difference. Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 – his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts – something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association – the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. ","Fowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.","Steven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in  Southern Businessmen and Desegregation , 1982. ","Subsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.","Selected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee, Friends of the Riverwalk."],"prefercite_html_tesm":["\u003cp\u003eThe civil rights papers of Cody Fowler and Steven Lawson, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["The civil rights papers of Cody Fowler and Steven Lawson, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eProgress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Progress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMany of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Many of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of this collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_3abe5c2d17e88edd0120ab3bf0662503\" label=\"Abstract\"\u003eThis collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***"],"names_ssim":["USF Libraries - Tampa Special Collections","Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":96,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"4ecda0709189a1ef8ee3f62e","timestamp":"2026-05-27T03:16:31.366Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/4ecda0709189a1ef8ee3f62e"}}],"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\u0026view=compact"}},{"attributes":{"label":"Michael A. Spencer Bromeliad Research Collection, 1754-2014","value":"Michael A. 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