{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026page=37","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026page=36","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026page=38","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026page=254"},"meta":{"pages":{"current_page":37,"next_page":38,"prev_page":36,"total_pages":254,"limit_value":10,"offset_value":360,"total_count":2538,"first_page?":false,"last_page?":false}},"data":[{"id":"494d175c32d55745f7fddbc7_aspace_4722","type":"File","attributes":{"title":"Churches, 1920-1953, Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/494d175c32d55745f7fddbc7_aspace_4722#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_4722","ref_ssm":["aspace_4722","aspace_4722"],"id":"494d175c32d55745f7fddbc7_aspace_4722","title_filing_ssi":"Churches","title_ssm":["Churches"],"title_tesim":["Churches"],"unitdate_inclusive_ssm":["1920-1953, Undated"],"normalized_date_ssm":["1920-1953, Undated"],"normalized_title_ssm":["Churches, 1920-1953, Undated"],"text":["Churches, 1920-1953, Undated","Florida Image Collection, 1884-2002","Photo Postcards, 1898-1988, Undated","/repositories/4/archival_objects/11825","box 3"],"component_level_isim":[2],"parent_ids_ssim":["494d175c32d55745f7fddbc7","494d175c32d55745f7fddbc7_aspace_4689"],"parent_unittitles_ssm":["Florida Image Collection, 1884-2002","Photo Postcards, 1898-1988, Undated"],"parent_unittitles_tesim":["Florida Image Collection, 1884-2002","Photo Postcards, 1898-1988, Undated"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/4/archival_objects/11825"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Florida Image Collection, 1884-2002"],"has_online_content_ssim":["false"],"child_component_count_isi":20,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":413,"parent_access_restrict_tesm":["The entire collection is open for research."],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953],"containers_ssim":["box 3"],"_nest_path_":"/components#4/components#2","_nest_parent_":"494d175c32d55745f7fddbc7_aspace_4689","_root_":"494d175c32d55745f7fddbc7","_version_":1870858026892656640,"timestamp":"2026-07-16T08:07:29.876Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"494d175c32d55745f7fddbc7","title_ssm":["Florida Image Collection"],"title_tesim":["Florida Image Collection"],"ead_ssi":"494d175c32d55745f7fddbc7","unitdate_ssm":["1884-2002"],"unitdate_inclusive_ssm":["1884-2002"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.067","/repositories/4/resources/58"],"text":["SC.067","/repositories/4/resources/58","Florida Image Collection, 1884-2002","Florida","photographs","The entire collection is open for research.","The Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection.","Many of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives.","Collection processed by Alexandra Olson; finding aid created by Alexandra Olson.","The photographs and postcards were sleeved and placed in acid-free folders and boxes.","More photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room.","Generally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject","\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.","\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.","\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.","\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.","\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.","\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.","\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.","\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.","\nSeries IX: Negatives, Undated contains all the negatives of the collection.","The images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960.","UCF Special Collections","Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998","English"],"unitid_tesim":["SC.067","/repositories/4/resources/58"],"normalized_date_ssm":["1884-2002"],"normalized_title_ssm":["Florida Image Collection, 1884-2002"],"collection_title_tesim":["Florida Image Collection, 1884-2002"],"collection_ssim":["Florida Image Collection, 1884-2002"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida"],"geogname_ssim":["Florida"],"creator_ssm":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creator_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creator_persname_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creators_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"places_ssim":["Florida"],"acqinfo_ssim":["Photographs used in the collection were taken from the Thomas and Georgine Mickler Collection, the UCF Libraries, Special Collections vertical file,as well as, other purchases and acessions.","This collection was a mixture of purchased and donated from the Mickler Estate and other sources in 2006 (CFM2006_08)."],"access_subjects_ssim":["photographs"],"access_subjects_ssm":["photographs"],"has_online_content_ssim":["false"],"extent_ssm":["1.65 Linear Feet 4 Boxes, 1 Flat File"],"extent_tesim":["1.65 Linear Feet 4 Boxes, 1 Flat File"],"genreform_ssim":["photographs"],"date_range_isim":[1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eThe Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection."],"custodhist_html_tesm":["\u003cp\u003eMany of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Many of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives."],"prefercite_html_tesm":["\u003cp\u003eFlorida Image Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Florida Image Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Alexandra Olson; finding aid created by Alexandra Olson.\u003c/p\u003e","\u003cp\u003eThe photographs and postcards were sleeved and placed in acid-free folders and boxes.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Alexandra Olson; finding aid created by Alexandra Olson.","The photographs and postcards were sleeved and placed in acid-free folders and boxes."],"relatedmaterial_html_tesm":["\u003cp\u003eMore photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["More photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room."],"scopecontent_html_tesm":["\u003cp\u003eGenerally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject\u003c/p\u003e\n","\u003cp\u003e\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.\u003c/p\u003e\n","\u003cp\u003e\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.\u003c/p\u003e\n","\u003cp\u003e\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.\u003c/p\u003e\n","\u003cp\u003e\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.\u003c/p\u003e\n","\u003cp\u003e\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.\u003c/p\u003e\n","\u003cp\u003e\nSeries IX: Negatives, Undated contains all the negatives of the collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Generally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject","\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.","\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.","\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.","\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.","\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.","\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.","\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.","\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.","\nSeries IX: Negatives, Undated contains all the negatives of the collection."],"abstract_html_tesm":["\u003cabstract id=\"aspace_c1764512ad44520b697525a0abb48530\" label=\"Abstract\"\u003eThe images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960.\u003c/abstract\u003e"],"abstract_tesim":["The images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960."],"names_ssim":["UCF Special Collections","Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"corpname_ssim":["UCF Special Collections"],"persname_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1301,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870858026892656640,"_root_":"494d175c32d55745f7fddbc7","timestamp":"2026-07-16T08:07:29.876Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/494d175c32d55745f7fddbc7_aspace_4722"}},{"id":"ea10a278e35b143f130f4d56_aspace_3ce494c8de688688db8f57c457acfa18","type":"File","attributes":{"title":"Churches, Father Augustine, and the Odd Fellows Lodge, 1925-2010, Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/ea10a278e35b143f130f4d56_aspace_3ce494c8de688688db8f57c457acfa18#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_3ce494c8de688688db8f57c457acfa18","ref_ssm":["aspace_3ce494c8de688688db8f57c457acfa18","aspace_3ce494c8de688688db8f57c457acfa18"],"id":"ea10a278e35b143f130f4d56_aspace_3ce494c8de688688db8f57c457acfa18","title_filing_ssi":"Churches, Father Augustine, and the Odd Fellows Lodge","title_ssm":["Churches, Father Augustine, and the Odd Fellows Lodge"],"title_tesim":["Churches, Father Augustine, and the Odd Fellows Lodge"],"unitdate_inclusive_ssm":["1925-2010, Undated"],"normalized_date_ssm":["1925-2010, Undated"],"normalized_title_ssm":["Churches, Father Augustine, and the Odd Fellows Lodge, 1925-2010, Undated"],"text":["Churches, Father Augustine, and the Odd Fellows Lodge, 1925-2010, Undated","Carol Mundy: African American Legacy Research Files, 1790-2012","Research Files, 1790-2012, Undated.","Apopka, 1790-2010, Undated","/repositories/4/archival_objects/55914","Box 1","Folder 2"],"component_level_isim":[3],"parent_ids_ssim":["ea10a278e35b143f130f4d56","ea10a278e35b143f130f4d56_aspace_seriesI","ea10a278e35b143f130f4d56_aspace_0b8753bfd1b34156502df803b13f97b0"],"parent_unittitles_ssm":["Carol Mundy: African American Legacy Research Files, 1790-2012","Research Files, 1790-2012, Undated.","Apopka, 1790-2010, Undated"],"parent_unittitles_tesim":["Carol Mundy: African American Legacy Research Files, 1790-2012","Research Files, 1790-2012, Undated.","Apopka, 1790-2010, Undated"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/4/archival_objects/55914"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Carol Mundy: African American Legacy Research Files, 1790-2012"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":4,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"date_range_isim":[1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"containers_ssim":["Box 1","Folder 2"],"_nest_path_":"/components#0/components#0/components#1","_nest_parent_":"ea10a278e35b143f130f4d56_aspace_0b8753bfd1b34156502df803b13f97b0","_root_":"ea10a278e35b143f130f4d56","_version_":1870857796524703744,"timestamp":"2026-07-16T08:03:50.193Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"ea10a278e35b143f130f4d56","title_ssm":["Carol Mundy: African American Legacy Research Files"],"title_tesim":["Carol Mundy: African American Legacy Research Files"],"ead_ssi":"ea10a278e35b143f130f4d56","unitdate_ssm":["1790-2012"],"unitdate_inclusive_ssm":["1790-2012"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.121","/repositories/4/resources/220"],"text":["SC.121","/repositories/4/resources/220","Carol Mundy: African American Legacy Research Files, 1790-2012","Apopka (Fla.)--History","Ocoee (Fla.)--History","Eatonville (Fla.)--History","African Americans","African Americans -- Florida -- History","manuscripts (documents)","photographs","The entire collection is open for research.","Ms. Carol Mundy's mother was an antique dealer and this love that Ms. Mundy had for antiques from a young age helped foster an interest and love of history. Ms. Carol Mundy, a former flight attendant was able to travel the world throughout her career. As a result she was able to compile these documents in this collection and its sister collection also house at the UCF Special Collection and University Archives and known as the African American Legacy: the Carol Mundy Collection which hold about one thousand five hundred pieces of history that Ms. Mundy collected previously. The original collection was obtained by the University of Central Florida Special Collections \u0026 University Archives in 2009.","The research files were given to the University of Central Florida History Department through their program known as Regional Initiative for Collecting the History, Experiences and Stories (RICHES). They were housed in the History Department for a number of years and were donated to the University of Central Florida Special Collections \u0026 University Archives. Ms. Mundy saw the University of Central Florida John C. Hitt Library as the perfect institution to house her collection. She also wanted to bring more attention and educate the public and students about the African American Legacy. In 2009, the University of Central Florida, honored Ms. Mundy through the Burnett Honors College. Within the pages of pamphlet handed out at the event that day. In the pamphlet it discusses the importance of preserving and educating youth.","When the University of Central Florida Special Collection \u0026 University Archives received this collection, most of the documents were in three ring binders. Upon receiving the collection the binders were in no particular order and have been organized by city. Some of the documents were put clear sleeves to keep them safe for the time being within the binders. Upon processing this collection, staples, binder clips, and paperclips were removed. The contents that were once in the binders are now housed in acid free folders and boxes.The photographs and the transparency are also housed in clear archival sleeves.","African American Legacy: The Carol Mundy Collection, 1794-2010","The collection is divided into 3 series.","Series I: Research Files, 1790-2012, Undated, consists of documents from three major areas Apopka, Eatonville, and Ocoee. The documents include articles, historic preservation manuals, land plans, census data, draft registration, and plot summaries.","Series II: Manuscripts, 2006-2009, Undated, consists of manuscripts written by Perrine Slim. The name Perrine Slim was a pseudonym for William Gladden Jr. In this series, there is also an article related to one of the manuscripts.","Series III: Photographs, 1920-Circa. 1950's, Undated, includes several photographs primarily of members of the Boykin family and the Gladden family.","Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.","This research collection primarily looks at African American Legacy in small town Florida, including Eatonville, Apopka, and Ocoee. Through photographs, manuscripts, census data, historic home registers, and so much more; you can dive deep into researching these historic African American cities. Delve into the historic homes and their inhabitance of these historic cities through this collection. The documents in this collection are primarily photocopies, or photographs of original documents. The documents in this collection as a result were printed or created recently.","UCF Special Collections","Mundy, Carol","The materials are written in English"],"unitid_tesim":["SC.121","/repositories/4/resources/220"],"normalized_date_ssm":["1790-2012"],"normalized_title_ssm":["Carol Mundy: African American Legacy Research Files, 1790-2012"],"collection_title_tesim":["Carol Mundy: African American Legacy Research Files, 1790-2012"],"collection_ssim":["Carol Mundy: African American Legacy Research Files, 1790-2012"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Apopka (Fla.)--History","Ocoee (Fla.)--History","Eatonville (Fla.)--History"],"geogname_ssim":["Apopka (Fla.)--History","Ocoee (Fla.)--History","Eatonville (Fla.)--History"],"places_ssim":["Apopka (Fla.)--History","Ocoee (Fla.)--History","Eatonville (Fla.)--History"],"access_terms_ssm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["Regional Initiative for Collecting the History, Experiences and Stories (RICHES) of Central Florida transferred these materials to the University of Central Florida Libraries, Special Collections \u0026 University Archives in 2020 (CFM2020_05)."],"access_subjects_ssim":["African Americans","African Americans -- Florida -- History","manuscripts (documents)","photographs"],"access_subjects_ssm":["African Americans","African Americans -- Florida -- History","manuscripts (documents)","photographs"],"has_online_content_ssim":["false"],"extent_ssm":["2.25 Linear Feet 5 Boxes"],"extent_tesim":["2.25 Linear Feet 5 Boxes"],"genreform_ssim":["manuscripts (documents)","photographs"],"date_range_isim":[1790,1791,1792,1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The entire collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eMs. Carol Mundy's mother was an antique dealer and this love that Ms. Mundy had for antiques from a young age helped foster an interest and love of history. Ms. Carol Mundy, a former flight attendant was able to travel the world throughout her career. As a result she was able to compile these documents in this collection and its sister collection also house at the UCF Special Collection and University Archives and known as the African American Legacy: the Carol Mundy Collection which hold about one thousand five hundred pieces of history that Ms. Mundy collected previously. The original collection was obtained by the University of Central Florida Special Collections \u0026amp; University Archives in 2009.\u003c/p\u003e\n","\u003cp\u003eThe research files were given to the University of Central Florida History Department through their program known as Regional Initiative for Collecting the History, Experiences and Stories (RICHES). They were housed in the History Department for a number of years and were donated to the University of Central Florida Special Collections \u0026amp; University Archives. Ms. Mundy saw the University of Central Florida John C. Hitt Library as the perfect institution to house her collection. She also wanted to bring more attention and educate the public and students about the African American Legacy. In 2009, the University of Central Florida, honored Ms. Mundy through the Burnett Honors College. Within the pages of pamphlet handed out at the event that day. In the pamphlet it discusses the importance of preserving and educating youth.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical Note"],"bioghist_tesim":["Ms. Carol Mundy's mother was an antique dealer and this love that Ms. Mundy had for antiques from a young age helped foster an interest and love of history. Ms. Carol Mundy, a former flight attendant was able to travel the world throughout her career. As a result she was able to compile these documents in this collection and its sister collection also house at the UCF Special Collection and University Archives and known as the African American Legacy: the Carol Mundy Collection which hold about one thousand five hundred pieces of history that Ms. Mundy collected previously. The original collection was obtained by the University of Central Florida Special Collections \u0026 University Archives in 2009.","The research files were given to the University of Central Florida History Department through their program known as Regional Initiative for Collecting the History, Experiences and Stories (RICHES). They were housed in the History Department for a number of years and were donated to the University of Central Florida Special Collections \u0026 University Archives. Ms. Mundy saw the University of Central Florida John C. Hitt Library as the perfect institution to house her collection. She also wanted to bring more attention and educate the public and students about the African American Legacy. In 2009, the University of Central Florida, honored Ms. Mundy through the Burnett Honors College. Within the pages of pamphlet handed out at the event that day. In the pamphlet it discusses the importance of preserving and educating youth."],"prefercite_html_tesm":["\u003cp\u003eCarol Mundy: African American Legacy Research Files, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Carol Mundy: African American Legacy Research Files, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eWhen the University of Central Florida Special Collection \u0026amp; University Archives received this collection, most of the documents were in three ring binders. Upon receiving the collection the binders were in no particular order and have been organized by city. Some of the documents were put clear sleeves to keep them safe for the time being within the binders. Upon processing this collection, staples, binder clips, and paperclips were removed. The contents that were once in the binders are now housed in acid free folders and boxes.The photographs and the transparency are also housed in clear archival sleeves.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing History"],"processinfo_tesim":["When the University of Central Florida Special Collection \u0026 University Archives received this collection, most of the documents were in three ring binders. Upon receiving the collection the binders were in no particular order and have been organized by city. Some of the documents were put clear sleeves to keep them safe for the time being within the binders. Upon processing this collection, staples, binder clips, and paperclips were removed. The contents that were once in the binders are now housed in acid free folders and boxes.The photographs and the transparency are also housed in clear archival sleeves."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003cextref href=\"http://purl.flvc.org/UCF/EAD/CFM2009-02\"\u003eAfrican American Legacy: The Carol Mundy Collection, 1794-2010\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["African American Legacy: The Carol Mundy Collection, 1794-2010"],"scopecontent_html_tesm":["\u003cp\u003eThe collection is divided into 3 series.\u003c/p\u003e\n","\u003cp\u003eSeries I: Research Files, 1790-2012, Undated, consists of documents from three major areas Apopka, Eatonville, and Ocoee. The documents include articles, historic preservation manuals, land plans, census data, draft registration, and plot summaries.\u003c/p\u003e\n","\u003cp\u003eSeries II: Manuscripts, 2006-2009, Undated, consists of manuscripts written by Perrine Slim. The name Perrine Slim was a pseudonym for William Gladden Jr. In this series, there is also an article related to one of the manuscripts.\u003c/p\u003e\n","\u003cp\u003eSeries III: Photographs, 1920-Circa. 1950's, Undated, includes several photographs primarily of members of the Boykin family and the Gladden family.\u003c/p\u003e"],"scopecontent_heading_ssm":["Collection Scope and Content"],"scopecontent_tesim":["The collection is divided into 3 series.","Series I: Research Files, 1790-2012, Undated, consists of documents from three major areas Apopka, Eatonville, and Ocoee. The documents include articles, historic preservation manuals, land plans, census data, draft registration, and plot summaries.","Series II: Manuscripts, 2006-2009, Undated, consists of manuscripts written by Perrine Slim. The name Perrine Slim was a pseudonym for William Gladden Jr. In this series, there is also an article related to one of the manuscripts.","Series III: Photographs, 1920-Circa. 1950's, Undated, includes several photographs primarily of members of the Boykin family and the Gladden family."],"userestrict_html_tesm":["\u003cp\u003eUnpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Copyright Statement"],"userestrict_tesim":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_a3e726e4ada6767d05cdb00c3da6057b\"\u003eThis research collection primarily looks at African American Legacy in small town Florida, including Eatonville, Apopka, and Ocoee. Through photographs, manuscripts, census data, historic home registers, and so much more; you can dive deep into researching these historic African American cities. Delve into the historic homes and their inhabitance of these historic cities through this collection. The documents in this collection are primarily photocopies, or photographs of original documents. The documents in this collection as a result were printed or created recently.\u003c/abstract\u003e"],"abstract_tesim":["This research collection primarily looks at African American Legacy in small town Florida, including Eatonville, Apopka, and Ocoee. Through photographs, manuscripts, census data, historic home registers, and so much more; you can dive deep into researching these historic African American cities. Delve into the historic homes and their inhabitance of these historic cities through this collection. The documents in this collection are primarily photocopies, or photographs of original documents. The documents in this collection as a result were printed or created recently."],"names_ssim":["UCF Special Collections","Mundy, Carol"],"corpname_ssim":["UCF Special Collections"],"names_coll_ssim":["Mundy, Carol"],"persname_ssim":["Mundy, Carol"],"language_ssim":["The materials are written in English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":77,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857796524703744,"_root_":"ea10a278e35b143f130f4d56","timestamp":"2026-07-16T08:03:50.193Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/ea10a278e35b143f130f4d56_aspace_3ce494c8de688688db8f57c457acfa18"}},{"id":"df5f33ab57ee6e767c26a104","type":"collection","attributes":{"title":"Cienfuegos Collection, 1819-1991","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/df5f33ab57ee6e767c26a104#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. It includes full texts and editions of regional newspapers, as well as the more intimate look at sketches, blueprints, seals, and correspondence, postcards, and business cards.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/df5f33ab57ee6e767c26a104#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"df5f33ab57ee6e767c26a104","title_ssm":["Cienfuegos Collection"],"title_tesim":["Cienfuegos Collection"],"ead_ssi":"df5f33ab57ee6e767c26a104","unitdate_ssm":["1819-1991"],"unitdate_inclusive_ssm":["1819-1991"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC9010","/repositories/2/resources/115"],"text":["SPC9010","/repositories/2/resources/115","Cienfuegos Collection, 1819-1991","Cuba","postcards","Newspaper","Maps","Magazine","Photographs","This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.","Cienfuegos, Cuba was founded in 1819 by French colonists, then deemed Fernandina de Jagua for King Ferdinand VII of Spain and Chief Jagua by early Spanish conquistadors. Cienfuegos, being a port city, became a center of the growing trade of crops such as coffee, sugarcane, and tobacco, as well as serving as a hub for Cuba's shrimp industry. The city's commercial success coincided with Cuba's sugar boom, making Cienfuegos one of the country's most economically important cities. The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments.","The materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. It includes full texts and editions of regional newspapers, as well as the more intimate look at sketches, blueprints, seals, and correspondence, postcards, and business cards.","The Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","English Spanish; Castilian"],"unitid_tesim":["SPC9010","/repositories/2/resources/115"],"normalized_date_ssm":["1819-1991"],"normalized_title_ssm":["Cienfuegos Collection, 1819-1991"],"collection_title_tesim":["Cienfuegos Collection, 1819-1991"],"collection_ssim":["Cienfuegos Collection, 1819-1991"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"geogname_ssm":["Cuba"],"geogname_ssim":["Cuba"],"places_ssim":["Cuba"],"access_terms_ssm":["The Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"acqinfo_ssim":["Materials were acquired through a private donor."],"access_subjects_ssim":["postcards","Newspaper","Maps","Magazine","Photographs"],"access_subjects_ssm":["postcards","Newspaper","Maps","Magazine","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["3 boxes 3 archival storage cartons"],"extent_tesim":["3 boxes 3 archival storage cartons"],"dimensions_tesim":["3.25 linear feet"],"genreform_ssim":["Newspaper","Maps","Magazine","Photographs"],"date_range_isim":[1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact Special Collections \u0026amp; University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"bioghist_html_tesm":["\u003cp\u003eCienfuegos, Cuba was founded in 1819 by French colonists, then deemed Fernandina de Jagua for King Ferdinand VII of Spain and Chief Jagua by early Spanish conquistadors. Cienfuegos, being a port city, became a center of the growing trade of crops such as coffee, sugarcane, and tobacco, as well as serving as a hub for Cuba's shrimp industry. The city's commercial success coincided with Cuba's sugar boom, making Cienfuegos one of the country's most economically important cities. The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Cienfuegos, Cuba was founded in 1819 by French colonists, then deemed Fernandina de Jagua for King Ferdinand VII of Spain and Chief Jagua by early Spanish conquistadors. Cienfuegos, being a port city, became a center of the growing trade of crops such as coffee, sugarcane, and tobacco, as well as serving as a hub for Cuba's shrimp industry. The city's commercial success coincided with Cuba's sugar boom, making Cienfuegos one of the country's most economically important cities. The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. It includes full texts and editions of regional newspapers, as well as the more intimate look at sketches, blueprints, seals, and correspondence, postcards, and business cards.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. It includes full texts and editions of regional newspapers, as well as the more intimate look at sketches, blueprints, seals, and correspondence, postcards, and business cards."],"userestrict_html_tesm":["\u003cp\u003eThe Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e\n","\u003cp\u003eFor more information please visit: https://library.fiu.edu/find/copyright/general\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English Spanish; Castilian"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":36,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844445591601152,"_root_":"df5f33ab57ee6e767c26a104","timestamp":"2026-07-16T04:31:37.751Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"df5f33ab57ee6e767c26a104","title_ssm":["Cienfuegos Collection"],"title_tesim":["Cienfuegos Collection"],"ead_ssi":"df5f33ab57ee6e767c26a104","unitdate_ssm":["1819-1991"],"unitdate_inclusive_ssm":["1819-1991"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC9010","/repositories/2/resources/115"],"text":["SPC9010","/repositories/2/resources/115","Cienfuegos Collection, 1819-1991","Cuba","postcards","Newspaper","Maps","Magazine","Photographs","This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.","Cienfuegos, Cuba was founded in 1819 by French colonists, then deemed Fernandina de Jagua for King Ferdinand VII of Spain and Chief Jagua by early Spanish conquistadors. Cienfuegos, being a port city, became a center of the growing trade of crops such as coffee, sugarcane, and tobacco, as well as serving as a hub for Cuba's shrimp industry. The city's commercial success coincided with Cuba's sugar boom, making Cienfuegos one of the country's most economically important cities. The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments.","The materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. It includes full texts and editions of regional newspapers, as well as the more intimate look at sketches, blueprints, seals, and correspondence, postcards, and business cards.","The Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","English Spanish; Castilian"],"unitid_tesim":["SPC9010","/repositories/2/resources/115"],"normalized_date_ssm":["1819-1991"],"normalized_title_ssm":["Cienfuegos Collection, 1819-1991"],"collection_title_tesim":["Cienfuegos Collection, 1819-1991"],"collection_ssim":["Cienfuegos Collection, 1819-1991"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"geogname_ssm":["Cuba"],"geogname_ssim":["Cuba"],"places_ssim":["Cuba"],"access_terms_ssm":["The Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"acqinfo_ssim":["Materials were acquired through a private donor."],"access_subjects_ssim":["postcards","Newspaper","Maps","Magazine","Photographs"],"access_subjects_ssm":["postcards","Newspaper","Maps","Magazine","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["3 boxes 3 archival storage cartons"],"extent_tesim":["3 boxes 3 archival storage cartons"],"dimensions_tesim":["3.25 linear feet"],"genreform_ssim":["Newspaper","Maps","Magazine","Photographs"],"date_range_isim":[1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact Special Collections \u0026amp; University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"bioghist_html_tesm":["\u003cp\u003eCienfuegos, Cuba was founded in 1819 by French colonists, then deemed Fernandina de Jagua for King Ferdinand VII of Spain and Chief Jagua by early Spanish conquistadors. Cienfuegos, being a port city, became a center of the growing trade of crops such as coffee, sugarcane, and tobacco, as well as serving as a hub for Cuba's shrimp industry. The city's commercial success coincided with Cuba's sugar boom, making Cienfuegos one of the country's most economically important cities. The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Cienfuegos, Cuba was founded in 1819 by French colonists, then deemed Fernandina de Jagua for King Ferdinand VII of Spain and Chief Jagua by early Spanish conquistadors. Cienfuegos, being a port city, became a center of the growing trade of crops such as coffee, sugarcane, and tobacco, as well as serving as a hub for Cuba's shrimp industry. The city's commercial success coincided with Cuba's sugar boom, making Cienfuegos one of the country's most economically important cities. The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. It includes full texts and editions of regional newspapers, as well as the more intimate look at sketches, blueprints, seals, and correspondence, postcards, and business cards.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. It includes full texts and editions of regional newspapers, as well as the more intimate look at sketches, blueprints, seals, and correspondence, postcards, and business cards."],"userestrict_html_tesm":["\u003cp\u003eThe Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e\n","\u003cp\u003eFor more information please visit: https://library.fiu.edu/find/copyright/general\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English Spanish; Castilian"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":36,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844445591601152,"_root_":"df5f33ab57ee6e767c26a104","timestamp":"2026-07-16T04:31:37.751Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/df5f33ab57ee6e767c26a104"}},{"id":"3a2a2bd1f653ffea6555f77b","type":"collection","attributes":{"title":"Cigar Industry supplementary material, 1900-1995","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/3a2a2bd1f653ffea6555f77b#abstract_or_scope","type":"document_value","attributes":{"value":["This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. 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."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/3a2a2bd1f653ffea6555f77b#breadcrumbs","type":"document_value","attributes":{"value":[{"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","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"3a2a2bd1f653ffea6555f77b","title_ssm":["Cigar Industry supplementary material"],"title_tesim":["Cigar Industry supplementary material"],"ead_ssi":"3a2a2bd1f653ffea6555f77b","unitdate_ssm":["1900-1995"],"unitdate_inclusive_ssm":["1900-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-11","/repositories/2/resources/638"],"text":["MS-1995-11","/repositories/2/resources/638","Cigar Industry supplementary material, 1900-1995","Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida","Materials are arranged topically.","Materials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-11","/repositories/2/resources/638"],"normalized_date_ssm":["1900-1995"],"normalized_title_ssm":["Cigar Industry supplementary material, 1900-1995"],"collection_title_tesim":["Cigar Industry supplementary material, 1900-1995"],"collection_ssim":["Cigar Industry supplementary material, 1900-1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"access_subjects_ssim":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"access_subjects_ssm":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["1 boxes","0.42 Linear Feet"],"extent_tesim":["1 boxes","0.42 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995],"arrangement_html_tesm":["\u003cp\u003eMaterials are arranged topically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials are arranged topically."],"prefercite_html_tesm":["\u003cp\u003eCigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Cigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_338bf1cf1c0a08ff9acffcbd8be08899\"\u003eThis collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"3a2a2bd1f653ffea6555f77b","timestamp":"2026-07-10T05:12:43.897Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/3a2a2bd1f653ffea6555f77b"}},{"id":"1fb60b2a237557e58ed95300","type":"collection","attributes":{"title":"Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300#abstract_or_scope","type":"document_value","attributes":{"value":["Collection of cigar labels from the late 19th century to the early 20th century."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"1fb60b2a237557e58ed95300","title_ssm":["Cigar Label Collection"],"title_tesim":["Cigar Label Collection"],"ead_ssi":"1fb60b2a237557e58ed95300","unitdate_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"unitdate_inclusive_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC6005","/repositories/2/resources/127"],"text":["SPC6005","/repositories/2/resources/127","Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","The collection is open for research.","Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros.","Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.","The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos.","Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.","Collection of cigar labels from the late 19th century to the early 20th century.","FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)","Spanish; Castilian"],"unitid_tesim":["SPC6005","/repositories/2/resources/127"],"normalized_date_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"normalized_title_ssm":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_title_tesim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_ssim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"has_online_content_ssim":["false"],"extent_ssm":["217 items"],"extent_tesim":["217 items"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eOmar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. \u003c/p\u003e\n","\u003cp\u003eWith the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.\u003c/p\u003e\n","\u003cp\u003eAmong the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company, and M.M. Sevis \u0026amp; Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026amp; Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026amp; Company and M.M. Sevis \u0026amp; Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. \u003c/p\u003e\n","\u003cp\u003eThe important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. \u003c/p\u003e\n","\u003cp\u003eThe multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. \u003c/p\u003e\n","\u003cp\u003e\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colecci\u0026#xF3;n de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitograf\u0026#xED;a. Su pasi\u0026#xF3;n por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colecci\u0026#xF3;n.\u003c/p\u003e\n","\u003cp\u003eEstas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este per\u0026#xED;odo. Con el auge de la cromolitograf\u0026#xED;a, que revolucion\u0026#xF3; la producci\u0026#xF3;n de etiquetas en todo el mundo, se permiti\u0026#xF3; la creaci\u0026#xF3;n de dise\u0026#xF1;os ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que tambi\u0026#xE9;n serv\u0026#xED;an como una estrategia de marketing crucial para demostrar la calidad y el artesanado detr\u0026#xE1;s de estos cigarros. Con una colecci\u0026#xF3;n que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio art\u0026#xED;stico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional m\u0026#xE1;s amplio del consumo de cigarros.\u003c/p\u003e\n","\u003cp\u003eEntre los destacados fabricantes que aparecen en esta colecci\u0026#xF3;n de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company y M.M. Sevis \u0026amp; Sons, entre otras peque\u0026#xF1;as empresas menos conocidas. Cada una de estas compa\u0026#xF1;\u0026#xED;as contribuy\u0026#xF3; de manera \u0026#xFA;nica a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes dise\u0026#xF1;os que generalmente incorporaban motivos florales y temas cl\u0026#xE1;sicos, mientras que F. Garcia \u0026amp; Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de im\u0026#xE1;genes audaces y llamativas. Tanto Alfonso Rios \u0026amp; Company como M.M. Sevis \u0026amp; Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginer\u0026#xED;a visual a trav\u0026#xE9;s de etiquetas, utilizando s\u0026#xED;mbolos locales y estilos iconogr\u0026#xE1;ficos art\u0026#xED;sticos que resonaban con los consumidores, tanto nacionales como internacionales.\u003c/p\u003e\n","\u003cp\u003eEl importante papel de los lit\u0026#xF3;grafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compa\u0026#xF1;\u0026#xED;as como la American Lithographic Company y la Klingenberg Detmond Company desempe\u0026#xF1;aron un papel fundamental en la producci\u0026#xF3;n de etiquetas cromolitogr\u0026#xE1;ficas de alta calidad que se volver\u0026#xED;an ic\u0026#xF3;nicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atenci\u0026#xF3;n al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hac\u0026#xED;a destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos m\u0026#xE1;s, que aportaron sus propias t\u0026#xE9;cnicas \u0026#xFA;nicas y capacidades art\u0026#xED;sticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compa\u0026#xF1;\u0026#xED;a Litogr\u0026#xE1;fica de La Habana enriqueci\u0026#xF3; a\u0026#xFA;n m\u0026#xE1;s la oferta al enfocarse en dise\u0026#xF1;os que reflejaban la identidad cubana, integrando tradiciones art\u0026#xED;sticas locales con m\u0026#xE9;todos de impresi\u0026#xF3;n contempor\u0026#xE1;neos.\u003c/p\u003e\n","\u003cp\u003eEl aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos or\u0026#xED;genes, mejorando as\u0026#xED; la reputaci\u0026#xF3;n de los cigarros como s\u0026#xED;mbolo de sofisticaci\u0026#xF3;n y estatus. Las etiquetas a menudo presentaban idiomas como espa\u0026#xF1;ol, ingl\u0026#xE9;s, franc\u0026#xE9;s, alem\u0026#xE1;n y muchos m\u0026#xE1;s, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitogr\u0026#xE1;ficas cuentan una rica historia cultural, fusionando la artesan\u0026#xED;a art\u0026#xED;stica con las din\u0026#xE1;micas econ\u0026#xF3;micas y sociales de sus respectivos per\u0026#xED;odos. Se mantendr\u0026#xE1;n como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracci\u0026#xF3;n y est\u0026#xE9;tica de sus cigarros.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros."],"relatedmaterial_html_tesm":["\u003cp\u003eOsterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/."],"scopecontent_html_tesm":["\u003cp\u003eThe Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.\u003c/p\u003e\n","\u003cp\u003e\nLa Colecci\u0026#xF3;n de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colecci\u0026#xF3;n abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitograf\u0026#xED;a. La colecci\u0026#xF3;n contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos art\u0026#xED;sticos que definieron la edad dorada de la industria. Destaca la intrincada artesan\u0026#xED;a de las litograf\u0026#xED;as de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindar\u0026#xED;a a los investigadores la oportunidad de observar el delicado proceso de la imaginer\u0026#xED;a litogr\u0026#xE1;fica en la fabricaci\u0026#xF3;n y comercializaci\u0026#xF3;n de cigarros cubanos.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos."],"userestrict_html_tesm":["\u003cp\u003eRights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7de0ce202f1579f9c58731ee3ee794be\"\u003eCollection of cigar labels from the late 19th century to the early 20th century.\u003c/abstract\u003e"],"abstract_tesim":["Collection of cigar labels from the late 19th century to the early 20th century."],"names_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"corpname_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"language_ssim":["Spanish; Castilian"],"total_component_count_is":217,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844493513621504,"_root_":"1fb60b2a237557e58ed95300","timestamp":"2026-07-16T04:32:23.451Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1fb60b2a237557e58ed95300","title_ssm":["Cigar Label Collection"],"title_tesim":["Cigar Label Collection"],"ead_ssi":"1fb60b2a237557e58ed95300","unitdate_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"unitdate_inclusive_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC6005","/repositories/2/resources/127"],"text":["SPC6005","/repositories/2/resources/127","Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","The collection is open for research.","Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros.","Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.","The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos.","Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.","Collection of cigar labels from the late 19th century to the early 20th century.","FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)","Spanish; Castilian"],"unitid_tesim":["SPC6005","/repositories/2/resources/127"],"normalized_date_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"normalized_title_ssm":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_title_tesim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_ssim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"has_online_content_ssim":["false"],"extent_ssm":["217 items"],"extent_tesim":["217 items"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eOmar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. \u003c/p\u003e\n","\u003cp\u003eWith the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.\u003c/p\u003e\n","\u003cp\u003eAmong the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company, and M.M. Sevis \u0026amp; Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026amp; Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026amp; Company and M.M. Sevis \u0026amp; Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. \u003c/p\u003e\n","\u003cp\u003eThe important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. \u003c/p\u003e\n","\u003cp\u003eThe multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. \u003c/p\u003e\n","\u003cp\u003e\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colecci\u0026#xF3;n de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitograf\u0026#xED;a. Su pasi\u0026#xF3;n por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colecci\u0026#xF3;n.\u003c/p\u003e\n","\u003cp\u003eEstas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este per\u0026#xED;odo. Con el auge de la cromolitograf\u0026#xED;a, que revolucion\u0026#xF3; la producci\u0026#xF3;n de etiquetas en todo el mundo, se permiti\u0026#xF3; la creaci\u0026#xF3;n de dise\u0026#xF1;os ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que tambi\u0026#xE9;n serv\u0026#xED;an como una estrategia de marketing crucial para demostrar la calidad y el artesanado detr\u0026#xE1;s de estos cigarros. Con una colecci\u0026#xF3;n que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio art\u0026#xED;stico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional m\u0026#xE1;s amplio del consumo de cigarros.\u003c/p\u003e\n","\u003cp\u003eEntre los destacados fabricantes que aparecen en esta colecci\u0026#xF3;n de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company y M.M. Sevis \u0026amp; Sons, entre otras peque\u0026#xF1;as empresas menos conocidas. Cada una de estas compa\u0026#xF1;\u0026#xED;as contribuy\u0026#xF3; de manera \u0026#xFA;nica a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes dise\u0026#xF1;os que generalmente incorporaban motivos florales y temas cl\u0026#xE1;sicos, mientras que F. Garcia \u0026amp; Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de im\u0026#xE1;genes audaces y llamativas. Tanto Alfonso Rios \u0026amp; Company como M.M. Sevis \u0026amp; Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginer\u0026#xED;a visual a trav\u0026#xE9;s de etiquetas, utilizando s\u0026#xED;mbolos locales y estilos iconogr\u0026#xE1;ficos art\u0026#xED;sticos que resonaban con los consumidores, tanto nacionales como internacionales.\u003c/p\u003e\n","\u003cp\u003eEl importante papel de los lit\u0026#xF3;grafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compa\u0026#xF1;\u0026#xED;as como la American Lithographic Company y la Klingenberg Detmond Company desempe\u0026#xF1;aron un papel fundamental en la producci\u0026#xF3;n de etiquetas cromolitogr\u0026#xE1;ficas de alta calidad que se volver\u0026#xED;an ic\u0026#xF3;nicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atenci\u0026#xF3;n al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hac\u0026#xED;a destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos m\u0026#xE1;s, que aportaron sus propias t\u0026#xE9;cnicas \u0026#xFA;nicas y capacidades art\u0026#xED;sticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compa\u0026#xF1;\u0026#xED;a Litogr\u0026#xE1;fica de La Habana enriqueci\u0026#xF3; a\u0026#xFA;n m\u0026#xE1;s la oferta al enfocarse en dise\u0026#xF1;os que reflejaban la identidad cubana, integrando tradiciones art\u0026#xED;sticas locales con m\u0026#xE9;todos de impresi\u0026#xF3;n contempor\u0026#xE1;neos.\u003c/p\u003e\n","\u003cp\u003eEl aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos or\u0026#xED;genes, mejorando as\u0026#xED; la reputaci\u0026#xF3;n de los cigarros como s\u0026#xED;mbolo de sofisticaci\u0026#xF3;n y estatus. Las etiquetas a menudo presentaban idiomas como espa\u0026#xF1;ol, ingl\u0026#xE9;s, franc\u0026#xE9;s, alem\u0026#xE1;n y muchos m\u0026#xE1;s, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitogr\u0026#xE1;ficas cuentan una rica historia cultural, fusionando la artesan\u0026#xED;a art\u0026#xED;stica con las din\u0026#xE1;micas econ\u0026#xF3;micas y sociales de sus respectivos per\u0026#xED;odos. Se mantendr\u0026#xE1;n como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracci\u0026#xF3;n y est\u0026#xE9;tica de sus cigarros.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros."],"relatedmaterial_html_tesm":["\u003cp\u003eOsterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/."],"scopecontent_html_tesm":["\u003cp\u003eThe Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.\u003c/p\u003e\n","\u003cp\u003e\nLa Colecci\u0026#xF3;n de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colecci\u0026#xF3;n abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitograf\u0026#xED;a. La colecci\u0026#xF3;n contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos art\u0026#xED;sticos que definieron la edad dorada de la industria. Destaca la intrincada artesan\u0026#xED;a de las litograf\u0026#xED;as de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindar\u0026#xED;a a los investigadores la oportunidad de observar el delicado proceso de la imaginer\u0026#xED;a litogr\u0026#xE1;fica en la fabricaci\u0026#xF3;n y comercializaci\u0026#xF3;n de cigarros cubanos.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos."],"userestrict_html_tesm":["\u003cp\u003eRights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7de0ce202f1579f9c58731ee3ee794be\"\u003eCollection of cigar labels from the late 19th century to the early 20th century.\u003c/abstract\u003e"],"abstract_tesim":["Collection of cigar labels from the late 19th century to the early 20th century."],"names_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"corpname_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"language_ssim":["Spanish; Castilian"],"total_component_count_is":217,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844493513621504,"_root_":"1fb60b2a237557e58ed95300","timestamp":"2026-07-16T04:32:23.451Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300"}},{"id":"02e6768c8de9bbedcf989f55","type":"collection","attributes":{"title":"Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/02e6768c8de9bbedcf989f55#abstract_or_scope","type":"document_value","attributes":{"value":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/02e6768c8de9bbedcf989f55#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"02e6768c8de9bbedcf989f55","title_ssm":["Cinema Corporation of America Collection"],"title_tesim":["Cinema Corporation of America Collection"],"ead_ssi":"02e6768c8de9bbedcf989f55","unitdate_ssm":["1925-1981","1925-1932"],"unitdate_bulk_ssim":["1925-1932"],"unitdate_inclusive_ssm":["1925-1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2004-008","/repositories/10/resources/515"],"text":["MSS 2004-008","/repositories/10/resources/515","Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters.","This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.","Portions of collection available online?: No","This collection was processed from December 2004-January 2005 by Burt Altman.","The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.","Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.","FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F.","English"],"unitid_tesim":["MSS 2004-008","/repositories/10/resources/515"],"normalized_date_ssm":["1925-1981, bulk 1925-1932"],"normalized_title_ssm":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_title_tesim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_ssim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["The Cinema Corporation of America Collection was given to Special Collections by Mr. Robert Martin in July 2004."],"access_subjects_ssim":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"access_subjects_ssm":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"has_online_content_ssim":["false"],"extent_ssm":["5.70 Linear Feet"],"extent_tesim":["5.70 Linear Feet"],"genreform_ssim":["Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"date_range_isim":[1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_html_tesm":["\u003cp\u003eIn 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n\u003cbr\u003e\u003cbr\u003eFrom 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n\u003cbr\u003e\u003cbr\u003eIn 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n\u003cbr\u003e\u003cbr\u003eDeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n\u003cbr\u003e\u003cbr\u003eThrough the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures."],"originalsloc_html_tesm":["\u003cp\u003ePortions of collection available online?: No\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Portions of collection available online?: No"],"prefercite_html_tesm":["\u003cp\u003eCinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008\u003c/p\u003e"],"prefercite_tesim":["Cinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008"],"processinfo_html_tesm":["\u003cp\u003eThis collection was processed from December 2004-January 2005 by Burt Altman.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection was processed from December 2004-January 2005 by Burt Altman."],"scopecontent_html_tesm":["\u003cp\u003eThe Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s."],"userestrict_html_tesm":["\u003cp\u003eCopyright has not been assigned to the Florida State University Libraries.\n\u003cbr\u003e\u003cbr\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"abstract_html_tesm":["\u003cabstract id=\"aspace_55d7c421357e27123341549dc34b5103\" label=\"Abstract\"\u003eThe Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.\u003c/abstract\u003e"],"abstract_tesim":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"names_coll_ssim":["DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"names_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"corpname_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America"],"persname_ssim":["DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":76,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"02e6768c8de9bbedcf989f55","timestamp":"2026-07-08T11:19:32.323Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"02e6768c8de9bbedcf989f55","title_ssm":["Cinema Corporation of America Collection"],"title_tesim":["Cinema Corporation of America Collection"],"ead_ssi":"02e6768c8de9bbedcf989f55","unitdate_ssm":["1925-1981","1925-1932"],"unitdate_bulk_ssim":["1925-1932"],"unitdate_inclusive_ssm":["1925-1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2004-008","/repositories/10/resources/515"],"text":["MSS 2004-008","/repositories/10/resources/515","Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters.","This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.","Portions of collection available online?: No","This collection was processed from December 2004-January 2005 by Burt Altman.","The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.","Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.","FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F.","English"],"unitid_tesim":["MSS 2004-008","/repositories/10/resources/515"],"normalized_date_ssm":["1925-1981, bulk 1925-1932"],"normalized_title_ssm":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_title_tesim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_ssim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["The Cinema Corporation of America Collection was given to Special Collections by Mr. Robert Martin in July 2004."],"access_subjects_ssim":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"access_subjects_ssm":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"has_online_content_ssim":["false"],"extent_ssm":["5.70 Linear Feet"],"extent_tesim":["5.70 Linear Feet"],"genreform_ssim":["Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"date_range_isim":[1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_html_tesm":["\u003cp\u003eIn 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n\u003cbr\u003e\u003cbr\u003eFrom 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n\u003cbr\u003e\u003cbr\u003eIn 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n\u003cbr\u003e\u003cbr\u003eDeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n\u003cbr\u003e\u003cbr\u003eThrough the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures."],"originalsloc_html_tesm":["\u003cp\u003ePortions of collection available online?: No\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Portions of collection available online?: No"],"prefercite_html_tesm":["\u003cp\u003eCinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008\u003c/p\u003e"],"prefercite_tesim":["Cinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008"],"processinfo_html_tesm":["\u003cp\u003eThis collection was processed from December 2004-January 2005 by Burt Altman.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection was processed from December 2004-January 2005 by Burt Altman."],"scopecontent_html_tesm":["\u003cp\u003eThe Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s."],"userestrict_html_tesm":["\u003cp\u003eCopyright has not been assigned to the Florida State University Libraries.\n\u003cbr\u003e\u003cbr\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"abstract_html_tesm":["\u003cabstract id=\"aspace_55d7c421357e27123341549dc34b5103\" label=\"Abstract\"\u003eThe Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.\u003c/abstract\u003e"],"abstract_tesim":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"names_coll_ssim":["DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"names_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"corpname_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America"],"persname_ssim":["DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":76,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"02e6768c8de9bbedcf989f55","timestamp":"2026-07-08T11:19:32.323Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/02e6768c8de9bbedcf989f55"}},{"id":"21908d03ad0b8b55a5eadb1e_aspace_38421","type":"File","attributes":{"title":"CIO: Industrial Democracy in Action, 1935-1955","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/21908d03ad0b8b55a5eadb1e_aspace_38421#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_38421","ref_ssm":["aspace_38421","aspace_38421"],"id":"21908d03ad0b8b55a5eadb1e_aspace_38421","title_filing_ssi":"CIO: Industrial Democracy in Action","title_ssm":["CIO: Industrial Democracy in Action"],"title_tesim":["CIO: Industrial Democracy in Action"],"unitdate_inclusive_ssm":["1935-1955"],"normalized_date_ssm":["1935-1955"],"normalized_title_ssm":["CIO: Industrial Democracy in Action, 1935-1955"],"text":["CIO: Industrial Democracy in Action, 1935-1955","International Ladies' Garment Workers' Union (ILGWU), date unknown","Box 1","Folder 4","/repositories/2/archival_objects/55080","folder 4"],"component_level_isim":[2],"parent_ids_ssim":["21908d03ad0b8b55a5eadb1e","21908d03ad0b8b55a5eadb1e_aspace_38417"],"parent_unittitles_ssm":["International Ladies' Garment Workers' Union (ILGWU), date unknown","Box 1"],"parent_unittitles_tesim":["International Ladies' Garment Workers' Union (ILGWU), date unknown","Box 1"],"parent_levels_ssm":["collection","Other level"],"unitid_ssm":["Folder 4","/repositories/2/archival_objects/55080"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["International Ladies' Garment Workers' Union (ILGWU), date unknown"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":5,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.","For more information please visit: https://library.fiu.edu/find/copyright/general"],"date_range_isim":[1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955],"containers_ssim":["folder 4"],"_nest_path_":"/components#0/components#3","_nest_parent_":"21908d03ad0b8b55a5eadb1e_aspace_38417","_root_":"21908d03ad0b8b55a5eadb1e","_version_":1870844635912339456,"timestamp":"2026-07-16T04:34:39.255Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"21908d03ad0b8b55a5eadb1e","title_ssm":["International Ladies' Garment Workers' Union (ILGWU)"],"title_tesim":["International Ladies' Garment Workers' Union (ILGWU)"],"ead_ssi":"21908d03ad0b8b55a5eadb1e","unitdate_ssm":["date unknown"],"unitdate_other_ssim":["date unknown"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC5044","/repositories/2/resources/52"],"text":["SPC5044","/repositories/2/resources/52","International Ladies' Garment Workers' Union (ILGWU), date unknown","The collection is open for research.","The International Ladies' Garment Workers' Union (ILGWU) was formed on June 3, 1900, by eleven delegates representing local unions from the major garment centers in New York City, Philadelphia, Baltimore, and Newark. It was one of the first and largest labor unions in the world with a primarily female enrollment to guarantee fair treatment in the workforce. Originally gaining momentum in 1909 after the New York shirtwaist strike of 1909, also known as the Uprising of the 20,000, showed the nation that women, especially immigrants, who made up the majority of the workforce, that all people have a right to fair wage. Additionally, as the strike progressed, the nation became aware of the consequences of massive strikes, such as higher pricing for goods, lack of the supply side of economics, and the notion if one union strikes, others may follow as well. While keeping momentum, various factors over the years have slowed progress, including economic (recessions, war, the Great Depression), the ILGWU estimated to exceed over 300,000 members between the 1950s and 1970s, and has as many members today as back then. By 1995, the ILGWU merged with Amalgamated Clothing and Textile Workers Union in 1995, to form UNITE. In 2004, it merged with the Hotel Employees and Restaurant Employees union to form UNITE HERE.","This collection, the International Ladies' Garment Workers' Union (ILGWU) contains highlights, newspaper clippings, union decisions, and negotiations between garment union workers in South Florida and the companies they worked for. This includes companies such Stolberg's Tailors, Disco Manufacturing Co., and Nora Corporation. Additionally, this collection maintains bank statements, ledgers, and plaques to detail how the workers were paid, motivated, and acknowledged in the workforce.","Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","English"],"unitid_tesim":["SPC5044","/repositories/2/resources/52"],"normalized_date_ssm":["date unknown"],"normalized_title_ssm":["International Ladies' Garment Workers' Union (ILGWU), date unknown"],"collection_title_tesim":["International Ladies' Garment Workers' Union (ILGWU), date unknown"],"collection_ssim":["International Ladies' Garment Workers' Union (ILGWU), date unknown"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.","For more information please visit: https://library.fiu.edu/find/copyright/general"],"acqinfo_ssim":["Donation"],"has_online_content_ssim":["false"],"extent_ssm":["0.00 Linear Feet"],"extent_tesim":["0.00 Linear Feet"],"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\u003eThe International Ladies' Garment Workers' Union (ILGWU) was formed on June 3, 1900, by eleven delegates representing local unions from the major garment centers in New York City, Philadelphia, Baltimore, and Newark. It was one of the first and largest labor unions in the world with a primarily female enrollment to guarantee fair treatment in the workforce. Originally gaining momentum in 1909 after the New York shirtwaist strike of 1909, also known as the Uprising of the 20,000, showed the nation that women, especially immigrants, who made up the majority of the workforce, that all people have a right to fair wage. Additionally, as the strike progressed, the nation became aware of the consequences of massive strikes, such as higher pricing for goods, lack of the supply side of economics, and the notion if one union strikes, others may follow as well. While keeping momentum, various factors over the years have slowed progress, including economic (recessions, war, the Great Depression), the ILGWU estimated to exceed over 300,000 members between the 1950s and 1970s, and has as many members today as back then. By 1995, the ILGWU merged with Amalgamated Clothing and Textile Workers Union in 1995, to form UNITE. In 2004, it merged with the Hotel Employees and Restaurant Employees union to form UNITE HERE.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The International Ladies' Garment Workers' Union (ILGWU) was formed on June 3, 1900, by eleven delegates representing local unions from the major garment centers in New York City, Philadelphia, Baltimore, and Newark. It was one of the first and largest labor unions in the world with a primarily female enrollment to guarantee fair treatment in the workforce. Originally gaining momentum in 1909 after the New York shirtwaist strike of 1909, also known as the Uprising of the 20,000, showed the nation that women, especially immigrants, who made up the majority of the workforce, that all people have a right to fair wage. Additionally, as the strike progressed, the nation became aware of the consequences of massive strikes, such as higher pricing for goods, lack of the supply side of economics, and the notion if one union strikes, others may follow as well. While keeping momentum, various factors over the years have slowed progress, including economic (recessions, war, the Great Depression), the ILGWU estimated to exceed over 300,000 members between the 1950s and 1970s, and has as many members today as back then. By 1995, the ILGWU merged with Amalgamated Clothing and Textile Workers Union in 1995, to form UNITE. In 2004, it merged with the Hotel Employees and Restaurant Employees union to form UNITE HERE."],"scopecontent_html_tesm":["\u003cp\u003eThis collection, the International Ladies' Garment Workers' Union (ILGWU) contains highlights, newspaper clippings, union decisions, and negotiations between garment union workers in South Florida and the companies they worked for. This includes companies such Stolberg's Tailors, Disco Manufacturing Co., and Nora Corporation. Additionally, this collection maintains bank statements, ledgers, and plaques to detail how the workers were paid, motivated, and acknowledged in the workforce.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection, the International Ladies' Garment Workers' Union (ILGWU) contains highlights, newspaper clippings, union decisions, and negotiations between garment union workers in South Florida and the companies they worked for. This includes companies such Stolberg's Tailors, Disco Manufacturing Co., and Nora Corporation. Additionally, this collection maintains bank statements, ledgers, and plaques to detail how the workers were paid, motivated, and acknowledged in the workforce."],"userestrict_html_tesm":["\u003cp\u003eRights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/\u003c/p\u003e\n","\u003cp\u003eSpecial Collections \u0026amp; University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.\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":["Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":79,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844635912339456,"_root_":"21908d03ad0b8b55a5eadb1e","timestamp":"2026-07-16T04:34:39.255Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/21908d03ad0b8b55a5eadb1e_aspace_38421"}},{"id":"d3616fdf15e8d4c7a8a83827_aspace_b307a50fa7dfe05ae0085e159d3e6648","type":"File","attributes":{"title":"Citrus Inspection Bureau Annual Report, 1935-1936","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/d3616fdf15e8d4c7a8a83827_aspace_b307a50fa7dfe05ae0085e159d3e6648#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_b307a50fa7dfe05ae0085e159d3e6648","ref_ssm":["aspace_b307a50fa7dfe05ae0085e159d3e6648","aspace_b307a50fa7dfe05ae0085e159d3e6648"],"id":"d3616fdf15e8d4c7a8a83827_aspace_b307a50fa7dfe05ae0085e159d3e6648","title_filing_ssi":"Citrus Inspection Bureau Annual Report","title_ssm":["Citrus Inspection Bureau Annual Report"],"title_tesim":["Citrus Inspection Bureau Annual Report"],"unitdate_inclusive_ssm":["1935-1936"],"normalized_date_ssm":["1935-1936"],"normalized_title_ssm":["Citrus Inspection Bureau Annual Report, 1935-1936"],"text":["Citrus Inspection Bureau Annual Report, 1935-1936","Jim Ellis Collection, 1885-1999","Inspection","Reports","/repositories/3/archival_objects/34306","box 8"],"component_level_isim":[3],"parent_ids_ssim":["d3616fdf15e8d4c7a8a83827","d3616fdf15e8d4c7a8a83827_aspace_e44bfaf13731853dd9b6cfc9ca35cedd","d3616fdf15e8d4c7a8a83827_aspace_b19894d70f0f98279dc55c537fd1a9ab"],"parent_unittitles_ssm":["Jim Ellis Collection, 1885-1999","Inspection","Reports"],"parent_unittitles_tesim":["Jim Ellis Collection, 1885-1999","Inspection","Reports"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/3/archival_objects/34306"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Jim Ellis Collection, 1885-1999"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":71,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["This collection is owned by Florida Southern College and 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)."],"date_range_isim":[1935,1936],"containers_ssim":["box 8"],"_nest_path_":"/components#3/components#0/components#9","_nest_parent_":"d3616fdf15e8d4c7a8a83827_aspace_b19894d70f0f98279dc55c537fd1a9ab","_root_":"d3616fdf15e8d4c7a8a83827","_version_":1870852005533057024,"timestamp":"2026-07-16T06:31:47.472Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"d3616fdf15e8d4c7a8a83827","title_ssm":["Jim Ellis Collection"],"title_tesim":["Jim Ellis Collection"],"ead_ssi":"d3616fdf15e8d4c7a8a83827","unitdate_ssm":["1885-1999"],"unitdate_inclusive_ssm":["1885-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT4030","/repositories/3/resources/135"],"text":["CIT4030","/repositories/3/resources/135","Jim Ellis Collection, 1885-1999","Citrus fruit industry--Florida--History.","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruit industry--Florida--Polk County","Florida Citrus Mutual","Citrus fruits--Diseases and pests--Florida","Agricultural policy--United States","Citrus fruits--Packing--Florida","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.","James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain – his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.","This collection contains various artifacts relating to citrus history.  The bulk of the collection is made of citrus labeling, ranging from collected crate labels to can labels, correspondence on label collecting, and even a crate label stamp.  It also contains information on inspections on citrus and vegetable groves, including inspector manuals and records.  Finiancial and business records are also contained in this collection.","This collection is owned by Florida Southern College and 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).","Thomas B. Mack Florida Citrus Archives","English"],"unitid_tesim":["CIT4030","/repositories/3/resources/135"],"normalized_date_ssm":["1885-1999"],"normalized_title_ssm":["Jim Ellis Collection, 1885-1999"],"collection_title_tesim":["Jim Ellis Collection, 1885-1999"],"collection_ssim":["Jim Ellis Collection, 1885-1999"],"repository_ssm":["Thomas B. Mack Florida Citrus Archives"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"access_terms_ssm":["This collection is owned by Florida Southern College and 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)."],"acqinfo_ssim":["This collection was donated by Jim Ellis 2014-current."],"access_subjects_ssim":["Citrus fruit industry--Florida--History.","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruit industry--Florida--Polk County","Florida Citrus Mutual","Citrus fruits--Diseases and pests--Florida","Agricultural policy--United States","Citrus fruits--Packing--Florida"],"access_subjects_ssm":["Citrus fruit industry--Florida--History.","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruit industry--Florida--Polk County","Florida Citrus Mutual","Citrus fruits--Diseases and pests--Florida","Agricultural policy--United States","Citrus fruits--Packing--Florida"],"has_online_content_ssim":["false"],"extent_ssm":["4.37 Linear Feet 3 Legal Standard Archival Document Containers and 10 banker storage boxes"],"extent_tesim":["4.37 Linear Feet 3 Legal Standard Archival Document Containers and 10 banker storage boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' 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 McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"bioghist_html_tesm":["\u003cp\u003eJames Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees \u0026#x2013; whatever needed to be done \u0026#x2013; a trait he would carry with him throughout his life.\u003c/p\u003e\n","\u003cp\u003eHe attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute \u0026#x2013; where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.\u003c/p\u003e\n","\u003cp\u003eHe finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.\u003c/p\u003e\n","\u003cp\u003eShortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM\u0026#x2013; hosting steak dinners and signing up growers as members of the organization.\u003c/p\u003e\n","\u003cp\u003eIn 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.\u003c/p\u003e\n","\u003cp\u003eAs general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but \u0026#x2013; more importantly \u0026#x2013; sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.\u003c/p\u003e\n","\u003cp\u003eWhen the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026amp; Bonds, Division of Fruits \u0026amp; Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.\u003c/p\u003e\n","\u003cp\u003eJim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.\u003c/p\u003e\n","\u003cp\u003eHis main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and \u0026#x2013; if you don't \u0026#x2013; you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections \u0026#x2013; along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.\u003c/p\u003e\n","\u003cp\u003eHowever, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the d\u0026#xE9;cor of a restaurant recently opened in Sarasota!\u003c/p\u003e\n","\u003cp\u003eHowever, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.\u003c/p\u003e\n","\u003cp\u003eHe has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.\u003c/p\u003e\n","\u003cp\u003eJim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain \u0026#x2013; his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain – his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains various artifacts relating to citrus history.  The bulk of the collection is made of citrus labeling, ranging from collected crate labels to can labels, correspondence on label collecting, and even a crate label stamp.  It also contains information on inspections on citrus and vegetable groves, including inspector manuals and records.  Finiancial and business records are also contained in this collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains various artifacts relating to citrus history.  The bulk of the collection is made of citrus labeling, ranging from collected crate labels to can labels, correspondence on label collecting, and even a crate label stamp.  It also contains information on inspections on citrus and vegetable groves, including inspector manuals and records.  Finiancial and business records are also contained in this collection."],"userestrict_html_tesm":["\u003cp\u003eThis collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is owned by Florida Southern College and 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)."],"names_ssim":["Thomas B. Mack Florida Citrus Archives"],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":156,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870852005533057024,"_root_":"d3616fdf15e8d4c7a8a83827","timestamp":"2026-07-16T06:31:47.472Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/d3616fdf15e8d4c7a8a83827_aspace_b307a50fa7dfe05ae0085e159d3e6648"}},{"id":"d3616fdf15e8d4c7a8a83827_aspace_8dfe15f97786d52b9487b1b99483e485","type":"File","attributes":{"title":"Citrus Inspection Bureau/Citrus and Vegetable Inspection Division, 1935-1950","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/d3616fdf15e8d4c7a8a83827_aspace_8dfe15f97786d52b9487b1b99483e485#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_8dfe15f97786d52b9487b1b99483e485","ref_ssm":["aspace_8dfe15f97786d52b9487b1b99483e485","aspace_8dfe15f97786d52b9487b1b99483e485"],"id":"d3616fdf15e8d4c7a8a83827_aspace_8dfe15f97786d52b9487b1b99483e485","title_filing_ssi":"Citrus Inspection Bureau/Citrus and Vegetable Inspection Division","title_ssm":["Citrus Inspection Bureau/Citrus and Vegetable Inspection Division"],"title_tesim":["Citrus Inspection Bureau/Citrus and Vegetable Inspection Division"],"unitdate_inclusive_ssm":["1935-1950"],"normalized_date_ssm":["1935-1950"],"normalized_title_ssm":["Citrus Inspection Bureau/Citrus and Vegetable Inspection Division, 1935-1950"],"text":["Citrus Inspection Bureau/Citrus and Vegetable Inspection Division, 1935-1950","Jim Ellis Collection, 1885-1999","Inspection","Reports","/repositories/3/archival_objects/34234","box 4"],"component_level_isim":[3],"parent_ids_ssim":["d3616fdf15e8d4c7a8a83827","d3616fdf15e8d4c7a8a83827_aspace_e44bfaf13731853dd9b6cfc9ca35cedd","d3616fdf15e8d4c7a8a83827_aspace_b19894d70f0f98279dc55c537fd1a9ab"],"parent_unittitles_ssm":["Jim Ellis Collection, 1885-1999","Inspection","Reports"],"parent_unittitles_tesim":["Jim Ellis Collection, 1885-1999","Inspection","Reports"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/3/archival_objects/34234"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Jim Ellis Collection, 1885-1999"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":68,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["This collection is owned by Florida Southern College and 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)."],"date_range_isim":[1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950],"containers_ssim":["box 4"],"_nest_path_":"/components#3/components#0/components#6","_nest_parent_":"d3616fdf15e8d4c7a8a83827_aspace_b19894d70f0f98279dc55c537fd1a9ab","_root_":"d3616fdf15e8d4c7a8a83827","_version_":1870852005533057024,"timestamp":"2026-07-16T06:31:47.472Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"d3616fdf15e8d4c7a8a83827","title_ssm":["Jim Ellis Collection"],"title_tesim":["Jim Ellis Collection"],"ead_ssi":"d3616fdf15e8d4c7a8a83827","unitdate_ssm":["1885-1999"],"unitdate_inclusive_ssm":["1885-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT4030","/repositories/3/resources/135"],"text":["CIT4030","/repositories/3/resources/135","Jim Ellis Collection, 1885-1999","Citrus fruit industry--Florida--History.","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruit industry--Florida--Polk County","Florida Citrus Mutual","Citrus fruits--Diseases and pests--Florida","Agricultural policy--United States","Citrus fruits--Packing--Florida","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.","James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain – his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.","This collection contains various artifacts relating to citrus history.  The bulk of the collection is made of citrus labeling, ranging from collected crate labels to can labels, correspondence on label collecting, and even a crate label stamp.  It also contains information on inspections on citrus and vegetable groves, including inspector manuals and records.  Finiancial and business records are also contained in this collection.","This collection is owned by Florida Southern College and 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).","Thomas B. Mack Florida Citrus Archives","English"],"unitid_tesim":["CIT4030","/repositories/3/resources/135"],"normalized_date_ssm":["1885-1999"],"normalized_title_ssm":["Jim Ellis Collection, 1885-1999"],"collection_title_tesim":["Jim Ellis Collection, 1885-1999"],"collection_ssim":["Jim Ellis Collection, 1885-1999"],"repository_ssm":["Thomas B. Mack Florida Citrus Archives"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"access_terms_ssm":["This collection is owned by Florida Southern College and 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)."],"acqinfo_ssim":["This collection was donated by Jim Ellis 2014-current."],"access_subjects_ssim":["Citrus fruit industry--Florida--History.","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruit industry--Florida--Polk County","Florida Citrus Mutual","Citrus fruits--Diseases and pests--Florida","Agricultural policy--United States","Citrus fruits--Packing--Florida"],"access_subjects_ssm":["Citrus fruit industry--Florida--History.","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruit industry--Florida--Polk County","Florida Citrus Mutual","Citrus fruits--Diseases and pests--Florida","Agricultural policy--United States","Citrus fruits--Packing--Florida"],"has_online_content_ssim":["false"],"extent_ssm":["4.37 Linear Feet 3 Legal Standard Archival Document Containers and 10 banker storage boxes"],"extent_tesim":["4.37 Linear Feet 3 Legal Standard Archival Document Containers and 10 banker storage boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' 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 McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"bioghist_html_tesm":["\u003cp\u003eJames Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees \u0026#x2013; whatever needed to be done \u0026#x2013; a trait he would carry with him throughout his life.\u003c/p\u003e\n","\u003cp\u003eHe attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute \u0026#x2013; where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.\u003c/p\u003e\n","\u003cp\u003eHe finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.\u003c/p\u003e\n","\u003cp\u003eShortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM\u0026#x2013; hosting steak dinners and signing up growers as members of the organization.\u003c/p\u003e\n","\u003cp\u003eIn 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.\u003c/p\u003e\n","\u003cp\u003eAs general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but \u0026#x2013; more importantly \u0026#x2013; sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.\u003c/p\u003e\n","\u003cp\u003eWhen the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026amp; Bonds, Division of Fruits \u0026amp; Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.\u003c/p\u003e\n","\u003cp\u003eJim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.\u003c/p\u003e\n","\u003cp\u003eHis main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and \u0026#x2013; if you don't \u0026#x2013; you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections \u0026#x2013; along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.\u003c/p\u003e\n","\u003cp\u003eHowever, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the d\u0026#xE9;cor of a restaurant recently opened in Sarasota!\u003c/p\u003e\n","\u003cp\u003eHowever, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.\u003c/p\u003e\n","\u003cp\u003eHe has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.\u003c/p\u003e\n","\u003cp\u003eJim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain \u0026#x2013; his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain – his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains various artifacts relating to citrus history.  The bulk of the collection is made of citrus labeling, ranging from collected crate labels to can labels, correspondence on label collecting, and even a crate label stamp.  It also contains information on inspections on citrus and vegetable groves, including inspector manuals and records.  Finiancial and business records are also contained in this collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains various artifacts relating to citrus history.  The bulk of the collection is made of citrus labeling, ranging from collected crate labels to can labels, correspondence on label collecting, and even a crate label stamp.  It also contains information on inspections on citrus and vegetable groves, including inspector manuals and records.  Finiancial and business records are also contained in this collection."],"userestrict_html_tesm":["\u003cp\u003eThis collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is owned by Florida Southern College and 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)."],"names_ssim":["Thomas B. Mack Florida Citrus Archives"],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":156,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870852005533057024,"_root_":"d3616fdf15e8d4c7a8a83827","timestamp":"2026-07-16T06:31:47.472Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/d3616fdf15e8d4c7a8a83827_aspace_8dfe15f97786d52b9487b1b99483e485"}},{"id":"792b05f55d172a62ab9f2a96","type":"collection","attributes":{"title":"Citrus Park Colored School collection, 1921-1996, 1996-11-20","creator":{"id":"https://flvc.lyrasistechnology.org/catalog/792b05f55d172a62ab9f2a96#creator","type":"document_value","attributes":{"value":["Historic Tampa-Hillsborough County Preservation Board"],"label":"Creator"}},"abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/792b05f55d172a62ab9f2a96#abstract_or_scope","type":"document_value","attributes":{"value":["Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/792b05f55d172a62ab9f2a96#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"792b05f55d172a62ab9f2a96","title_ssm":["Citrus Park Colored School collection"],"title_tesim":["Citrus Park Colored School collection"],"ead_ssi":"792b05f55d172a62ab9f2a96","unitdate_ssm":["1921-1996","1996-11-20"],"unitdate_inclusive_ssm":["1921-1996"],"unitdate_other_ssim":["1996-11-20"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1996-03","/repositories/2/resources/468"],"text":["MS-1996-03","/repositories/2/resources/468","Citrus Park Colored School collection, 1921-1996, 1996-11-20","Citrus Park (Fla.) -- History -- 20th Century.","African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County","Additional documents donated by Geoffrey Mohlman in September 2000.","Series","Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark.","published","Complete","Historic Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.","The collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.  Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.","USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey","English"],"unitid_tesim":["MS-1996-03","/repositories/2/resources/468"],"normalized_date_ssm":["1921-1996, 1996-11-20"],"normalized_title_ssm":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_title_tesim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_ssim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Citrus Park (Fla.) -- History -- 20th Century."],"geogname_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"creator_ssm":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_persname_ssim":["Mohlman, Geoffrey"],"creator_corpname_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"creators_ssim":["Mohlman, Geoffrey","Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"places_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Historic Tampa-Hillsborough County Preservation Board","Donation"],"access_subjects_ssim":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"access_subjects_ssm":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"has_online_content_ssim":["false"],"extent_ssm":["0.21 Linear Feet","2  boxes"],"extent_tesim":["0.21 Linear Feet","2  boxes"],"date_range_isim":[1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accruals_html_tesm":["\u003cp\u003eAdditional documents donated by Geoffrey Mohlman in September 2000.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals and Additions"],"accruals_tesim":["Additional documents donated by Geoffrey Mohlman in September 2000."],"arrangement_html_tesm":["\u003cp\u003eSeries\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Series"],"bioghist_html_tesm":["\u003cp\u003eCitrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eCitrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Citrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eComplete\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Complete"],"relatedmaterial_html_tesm":["\u003cp\u003eHistoric Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Historic Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.\u0026#xA0; Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.  Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_8cca7bf8998605ce0aade733ac0fb40d\" label=\"Abstract\"\u003eCollection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.\u003c/abstract\u003e"],"abstract_tesim":["Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark."],"names_coll_ssim":["Citrus Park Colored School (Citrus Park, Fla.)","Citrus Park Colored School (Citrus Park, Fla.)","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"names_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)"],"persname_ssim":["Mohlman, Geoffrey"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870863131977187328,"_root_":"792b05f55d172a62ab9f2a96","timestamp":"2026-07-16T09:28:38.477Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"792b05f55d172a62ab9f2a96","title_ssm":["Citrus Park Colored School collection"],"title_tesim":["Citrus Park Colored School collection"],"ead_ssi":"792b05f55d172a62ab9f2a96","unitdate_ssm":["1921-1996","1996-11-20"],"unitdate_inclusive_ssm":["1921-1996"],"unitdate_other_ssim":["1996-11-20"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1996-03","/repositories/2/resources/468"],"text":["MS-1996-03","/repositories/2/resources/468","Citrus Park Colored School collection, 1921-1996, 1996-11-20","Citrus Park (Fla.) -- History -- 20th Century.","African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County","Additional documents donated by Geoffrey Mohlman in September 2000.","Series","Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. 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