{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=886","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=888","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=962"},"meta":{"pages":{"current_page":887,"next_page":888,"prev_page":886,"total_pages":962,"limit_value":10,"offset_value":8860,"total_count":9618,"first_page?":false,"last_page?":false}},"data":[{"id":"18ce43a3c782b797db9fa781_aspace_179874","type":"Box","attributes":{"title":"Slides - Travel Pictures, Family Pictures","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179874#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179874","ref_ssm":["aspace_179874","aspace_179874"],"id":"18ce43a3c782b797db9fa781_aspace_179874","title_filing_ssi":"Slides - Travel Pictures, Family Pictures","title_ssm":["Slides - Travel Pictures, Family Pictures"],"title_tesim":["Slides - Travel Pictures, Family Pictures"],"normalized_title_ssm":["Slides - Travel Pictures, Family Pictures"],"text":["Slides - Travel Pictures, Family Pictures","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","30","/repositories/2/archival_objects/81905","box 30"],"component_level_isim":[1],"parent_ids_ssim":["18ce43a3c782b797db9fa781"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"parent_levels_ssm":["collection"],"unitid_ssm":["30","/repositories/2/archival_objects/81905"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"has_online_content_ssim":["false"],"child_component_count_isi":4,"level_ssm":["Box"],"level_ssim":["Box"],"sort_isi":1827,"parent_access_restrict_tesm":["Fragile materials served by appointment. Gloves required."],"parent_access_terms_tesm":["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."],"containers_ssim":["box 30"],"_nest_path_":"/components#29","_nest_parent_":"18ce43a3c782b797db9fa781","_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179874"}},{"id":"18ce43a3c782b797db9fa781_aspace_a2916e0538706b9dd525800b5c4eb037","type":"Box","attributes":{"title":"Slides - Unknown cities","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_a2916e0538706b9dd525800b5c4eb037#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_a2916e0538706b9dd525800b5c4eb037","ref_ssm":["aspace_a2916e0538706b9dd525800b5c4eb037","aspace_a2916e0538706b9dd525800b5c4eb037"],"id":"18ce43a3c782b797db9fa781_aspace_a2916e0538706b9dd525800b5c4eb037","title_filing_ssi":"Slides - Unknown cities","title_ssm":["Slides - Unknown cities"],"title_tesim":["Slides - Unknown cities"],"normalized_title_ssm":["Slides - Unknown cities"],"text":["Slides - Unknown cities","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","38","/repositories/2/archival_objects/179045","box 38","Five lantern slides donated to Special Collections by Dr. Judith Bryant."],"component_level_isim":[1],"parent_ids_ssim":["18ce43a3c782b797db9fa781"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"parent_levels_ssm":["collection"],"unitid_ssm":["38","/repositories/2/archival_objects/179045"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Box"],"level_ssim":["Box"],"sort_isi":2364,"parent_access_restrict_tesm":["Fragile materials served by appointment. Gloves required."],"parent_access_terms_tesm":["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."],"containers_ssim":["box 38"],"accruals_html_tesm":["\u003cp\u003eFive lantern slides donated to Special Collections by Dr. Judith Bryant.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides donated to Special Collections by Dr. Judith Bryant."],"_nest_path_":"/components#35","_nest_parent_":"18ce43a3c782b797db9fa781","_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_a2916e0538706b9dd525800b5c4eb037"}},{"id":"5055933f3c1174c284436837_aspace_ab52c78d22258f81f96c9bc8d790b550","type":"Box","attributes":{"title":"Slides V","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/5055933f3c1174c284436837_aspace_ab52c78d22258f81f96c9bc8d790b550#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_ab52c78d22258f81f96c9bc8d790b550","ref_ssm":["aspace_ab52c78d22258f81f96c9bc8d790b550","aspace_ab52c78d22258f81f96c9bc8d790b550"],"id":"5055933f3c1174c284436837_aspace_ab52c78d22258f81f96c9bc8d790b550","title_filing_ssi":"Slides V","title_ssm":["Slides V"],"title_tesim":["Slides V"],"normalized_title_ssm":["Slides V"],"text":["Slides V","Kay von Schmidt collection, 1916-1989","/repositories/2/archival_objects/213765","box 12"],"component_level_isim":[1],"parent_ids_ssim":["5055933f3c1174c284436837"],"parent_unittitles_ssm":["Kay von Schmidt collection, 1916-1989"],"parent_unittitles_tesim":["Kay von Schmidt collection, 1916-1989"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/2/archival_objects/213765"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Kay von Schmidt collection, 1916-1989"],"has_online_content_ssim":["false"],"child_component_count_isi":10,"level_ssm":["Box"],"level_ssim":["Box"],"sort_isi":313,"containers_ssim":["box 12"],"_nest_path_":"/components#11","_nest_parent_":"5055933f3c1174c284436837","_root_":"5055933f3c1174c284436837","timestamp":"2026-07-02T03:25:28.146Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"5055933f3c1174c284436837","title_ssm":["Kay von Schmidt collection"],"title_tesim":["Kay von Schmidt collection"],"ead_ssi":"5055933f3c1174c284436837","unitdate_ssm":["1916-1989"],"unitdate_inclusive_ssm":["1916-1989"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2024-10","/repositories/2/resources/754"],"text":["MS-2024-10","/repositories/2/resources/754","Kay von Schmidt collection, 1916-1989","Ornithology","Ornithology -- Fieldwork","Birds","Science","Ecology -- Florida","Birds -- Habitat -- Florida","This collection is arranged according to material type and ordered alphabetically within.","This collection consists of articles, artwork, field notes, research materials, correspondence, photographic slides, film reels, data, graphs, manuscript pages, and photographs.","This collection consists of the research materials of Kay von Schmidt, with a focus on Florida ornithology and Least Terns. The collection includes original research material and writings, as well as supporting literature on ecology and local environmental organizations.","USF Libraries - Tampa Special Collections","von Schmidt, Kay","English"],"unitid_tesim":["MS-2024-10","/repositories/2/resources/754"],"normalized_date_ssm":["1916-1989"],"normalized_title_ssm":["Kay von Schmidt collection, 1916-1989"],"collection_title_tesim":["Kay von Schmidt collection, 1916-1989"],"collection_ssim":["Kay von Schmidt collection, 1916-1989"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["von Schmidt, Kay"],"creator_ssim":["von Schmidt, Kay"],"creator_persname_ssim":["von Schmidt, Kay"],"creators_ssim":["von Schmidt, Kay"],"access_subjects_ssim":["Ornithology","Ornithology -- Fieldwork","Birds","Science","Ecology -- Florida","Birds -- Habitat -- Florida"],"access_subjects_ssm":["Ornithology","Ornithology -- Fieldwork","Birds","Science","Ecology -- Florida","Birds -- Habitat -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["6 boxes"],"extent_tesim":["6 boxes"],"date_range_isim":[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],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged according to material type and ordered alphabetically within.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged according to material type and ordered alphabetically within."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of articles, artwork, field notes, research materials, correspondence, photographic slides, film reels, data, graphs, manuscript pages, and photographs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of articles, artwork, field notes, research materials, correspondence, photographic slides, film reels, data, graphs, manuscript pages, and photographs."],"abstract_html_tesm":["\u003cabstract id=\"aspace_82b6fb8801898e20c20698feb988dabe\"\u003eThis collection consists of the research materials of Kay von Schmidt, with a focus on Florida ornithology and Least Terns. The collection includes original research material and writings, as well as supporting literature on ecology and local environmental organizations.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of the research materials of Kay von Schmidt, with a focus on Florida ornithology and Least Terns. The collection includes original research material and writings, as well as supporting literature on ecology and local environmental organizations."],"names_ssim":["USF Libraries - Tampa Special Collections","von Schmidt, Kay"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["von Schmidt, Kay"],"language_ssim":["English"],"total_component_count_is":326,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"5055933f3c1174c284436837","timestamp":"2026-07-02T03:25:28.146Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/5055933f3c1174c284436837_aspace_ab52c78d22258f81f96c9bc8d790b550"}},{"id":"a0b8dca0cc27e719e79a099f_aspace_eec449cf13c5b9640aa4627be94c3d59","type":"Box","attributes":{"title":"Slides V","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_eec449cf13c5b9640aa4627be94c3d59#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_eec449cf13c5b9640aa4627be94c3d59","ref_ssm":["aspace_eec449cf13c5b9640aa4627be94c3d59","aspace_eec449cf13c5b9640aa4627be94c3d59"],"id":"a0b8dca0cc27e719e79a099f_aspace_eec449cf13c5b9640aa4627be94c3d59","title_filing_ssi":"Slides V","title_ssm":["Slides V"],"title_tesim":["Slides V"],"normalized_title_ssm":["Slides V"],"text":["Slides V","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides","/repositories/2/archival_objects/198692","box 83"],"component_level_isim":[2],"parent_ids_ssim":["a0b8dca0cc27e719e79a099f","a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002"],"parent_unittitles_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_unittitles_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/198692"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"has_online_content_ssim":["false"],"child_component_count_isi":24,"level_ssm":["Box"],"level_ssim":["Box"],"sort_isi":2222,"parent_access_restrict_tesm":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"parent_access_terms_tesm":["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."],"containers_ssim":["box 83"],"_nest_path_":"/components#2/components#7","_nest_parent_":"a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002","_root_":"a0b8dca0cc27e719e79a099f","_version_":1872946110924849152,"timestamp":"2026-08-08T09:16:41.949Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"a0b8dca0cc27e719e79a099f","title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records"],"title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records"],"ead_ssi":"a0b8dca0cc27e719e79a099f","unitdate_ssm":["1937-2019"],"unitdate_inclusive_ssm":["1937-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2020-03","/repositories/2/resources/583"],"text":["MS-2020-03","/repositories/2/resources/583","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration","Good.","Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.","This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.","Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.","The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.","This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.","Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.","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.","The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.","USF Libraries - Tampa Special Collections","Ed Carlson","English"],"unitid_tesim":["MS-2020-03","/repositories/2/resources/583"],"normalized_date_ssm":["1937-2019"],"normalized_title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Ed Carlson"],"creator_ssim":["Ed Carlson"],"creator_persname_ssim":["Ed Carlson"],"creators_ssim":["Ed Carlson"],"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":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"access_subjects_ssm":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good."],"extent_ssm":["51 Linear Feet","96 boxes"],"extent_tesim":["51 Linear Feet","96 boxes"],"date_range_isim":[1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eUntil 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"arrangement_html_tesm":["\u003cp\u003eThis collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically."],"bioghist_html_tesm":["\u003cp\u003eAudubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.\u003c/p\u003e"],"bioghist_heading_ssm":["Content Description"],"bioghist_tesim":["Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns."],"odd_html_tesm":["\u003cp\u003eThe Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.\u003c/p\u003e"],"odd_heading_ssm":["Cataloged Publications"],"odd_tesim":["The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings."],"separatedmaterial_html_tesm":["\u003cp\u003eMaps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series."],"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_bf60a5a83f90c49360b71829ac95b658\"\u003eThe Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.\u003c/abstract\u003e"],"abstract_tesim":["The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River."],"names_ssim":["USF Libraries - Tampa Special Collections","Ed Carlson"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Ed Carlson"],"language_ssim":["English"],"total_component_count_is":2704,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1872946110924849152,"_root_":"a0b8dca0cc27e719e79a099f","timestamp":"2026-08-08T09:16:41.949Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_eec449cf13c5b9640aa4627be94c3d59"}},{"id":"a0b8dca0cc27e719e79a099f_aspace_9a9e1523642c339618ef611266855389","type":"Box","attributes":{"title":"Slides VI","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_9a9e1523642c339618ef611266855389#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_9a9e1523642c339618ef611266855389","ref_ssm":["aspace_9a9e1523642c339618ef611266855389","aspace_9a9e1523642c339618ef611266855389"],"id":"a0b8dca0cc27e719e79a099f_aspace_9a9e1523642c339618ef611266855389","title_filing_ssi":"Slides VI","title_ssm":["Slides VI"],"title_tesim":["Slides VI"],"normalized_title_ssm":["Slides VI"],"text":["Slides VI","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides","/repositories/2/archival_objects/198717","box 84"],"component_level_isim":[2],"parent_ids_ssim":["a0b8dca0cc27e719e79a099f","a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002"],"parent_unittitles_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_unittitles_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/198717"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"has_online_content_ssim":["false"],"child_component_count_isi":24,"level_ssm":["Box"],"level_ssim":["Box"],"sort_isi":2247,"parent_access_restrict_tesm":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"parent_access_terms_tesm":["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."],"containers_ssim":["box 84"],"_nest_path_":"/components#2/components#8","_nest_parent_":"a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002","_root_":"a0b8dca0cc27e719e79a099f","_version_":1872946110924849152,"timestamp":"2026-08-08T09:16:41.949Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"a0b8dca0cc27e719e79a099f","title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records"],"title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records"],"ead_ssi":"a0b8dca0cc27e719e79a099f","unitdate_ssm":["1937-2019"],"unitdate_inclusive_ssm":["1937-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2020-03","/repositories/2/resources/583"],"text":["MS-2020-03","/repositories/2/resources/583","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration","Good.","Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.","This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.","Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.","The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.","This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.","Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.","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.","The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.","USF Libraries - Tampa Special Collections","Ed Carlson","English"],"unitid_tesim":["MS-2020-03","/repositories/2/resources/583"],"normalized_date_ssm":["1937-2019"],"normalized_title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Ed Carlson"],"creator_ssim":["Ed Carlson"],"creator_persname_ssim":["Ed Carlson"],"creators_ssim":["Ed Carlson"],"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":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"access_subjects_ssm":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good."],"extent_ssm":["51 Linear Feet","96 boxes"],"extent_tesim":["51 Linear Feet","96 boxes"],"date_range_isim":[1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eUntil 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"arrangement_html_tesm":["\u003cp\u003eThis collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically."],"bioghist_html_tesm":["\u003cp\u003eAudubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.\u003c/p\u003e"],"bioghist_heading_ssm":["Content Description"],"bioghist_tesim":["Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns."],"odd_html_tesm":["\u003cp\u003eThe Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.\u003c/p\u003e"],"odd_heading_ssm":["Cataloged Publications"],"odd_tesim":["The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings."],"separatedmaterial_html_tesm":["\u003cp\u003eMaps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series."],"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_bf60a5a83f90c49360b71829ac95b658\"\u003eThe Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.\u003c/abstract\u003e"],"abstract_tesim":["The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River."],"names_ssim":["USF Libraries - Tampa Special Collections","Ed Carlson"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Ed Carlson"],"language_ssim":["English"],"total_component_count_is":2704,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1872946110924849152,"_root_":"a0b8dca0cc27e719e79a099f","timestamp":"2026-08-08T09:16:41.949Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_9a9e1523642c339618ef611266855389"}},{"id":"a0b8dca0cc27e719e79a099f_aspace_b6e040b3e27dee0a8b8246f1ef8d4321","type":"Box","attributes":{"title":"Slides VII","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_b6e040b3e27dee0a8b8246f1ef8d4321#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_b6e040b3e27dee0a8b8246f1ef8d4321","ref_ssm":["aspace_b6e040b3e27dee0a8b8246f1ef8d4321","aspace_b6e040b3e27dee0a8b8246f1ef8d4321"],"id":"a0b8dca0cc27e719e79a099f_aspace_b6e040b3e27dee0a8b8246f1ef8d4321","title_filing_ssi":"Slides VII","title_ssm":["Slides VII"],"title_tesim":["Slides VII"],"normalized_title_ssm":["Slides VII"],"text":["Slides VII","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides","/repositories/2/archival_objects/198742","box 85"],"component_level_isim":[2],"parent_ids_ssim":["a0b8dca0cc27e719e79a099f","a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002"],"parent_unittitles_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_unittitles_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/198742"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"has_online_content_ssim":["false"],"child_component_count_isi":24,"level_ssm":["Box"],"level_ssim":["Box"],"sort_isi":2272,"parent_access_restrict_tesm":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"parent_access_terms_tesm":["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."],"containers_ssim":["box 85"],"_nest_path_":"/components#2/components#9","_nest_parent_":"a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002","_root_":"a0b8dca0cc27e719e79a099f","_version_":1872946110924849152,"timestamp":"2026-08-08T09:16:41.949Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"a0b8dca0cc27e719e79a099f","title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records"],"title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records"],"ead_ssi":"a0b8dca0cc27e719e79a099f","unitdate_ssm":["1937-2019"],"unitdate_inclusive_ssm":["1937-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2020-03","/repositories/2/resources/583"],"text":["MS-2020-03","/repositories/2/resources/583","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration","Good.","Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.","This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.","Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.","The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.","This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.","Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.","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.","The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.","USF Libraries - Tampa Special Collections","Ed Carlson","English"],"unitid_tesim":["MS-2020-03","/repositories/2/resources/583"],"normalized_date_ssm":["1937-2019"],"normalized_title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Ed Carlson"],"creator_ssim":["Ed Carlson"],"creator_persname_ssim":["Ed Carlson"],"creators_ssim":["Ed Carlson"],"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":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"access_subjects_ssm":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good."],"extent_ssm":["51 Linear Feet","96 boxes"],"extent_tesim":["51 Linear Feet","96 boxes"],"date_range_isim":[1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eUntil 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"arrangement_html_tesm":["\u003cp\u003eThis collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically."],"bioghist_html_tesm":["\u003cp\u003eAudubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.\u003c/p\u003e"],"bioghist_heading_ssm":["Content Description"],"bioghist_tesim":["Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns."],"odd_html_tesm":["\u003cp\u003eThe Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.\u003c/p\u003e"],"odd_heading_ssm":["Cataloged Publications"],"odd_tesim":["The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings."],"separatedmaterial_html_tesm":["\u003cp\u003eMaps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series."],"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_bf60a5a83f90c49360b71829ac95b658\"\u003eThe Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.\u003c/abstract\u003e"],"abstract_tesim":["The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River."],"names_ssim":["USF Libraries - Tampa Special Collections","Ed Carlson"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Ed Carlson"],"language_ssim":["English"],"total_component_count_is":2704,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1872946110924849152,"_root_":"a0b8dca0cc27e719e79a099f","timestamp":"2026-08-08T09:16:41.949Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_b6e040b3e27dee0a8b8246f1ef8d4321"}},{"id":"a0b8dca0cc27e719e79a099f_aspace_ad6e093f038b500afdcf9616360025dc","type":"Box","attributes":{"title":"Slides VIII","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_ad6e093f038b500afdcf9616360025dc#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_ad6e093f038b500afdcf9616360025dc","ref_ssm":["aspace_ad6e093f038b500afdcf9616360025dc","aspace_ad6e093f038b500afdcf9616360025dc"],"id":"a0b8dca0cc27e719e79a099f_aspace_ad6e093f038b500afdcf9616360025dc","title_filing_ssi":"Slides VIII","title_ssm":["Slides VIII"],"title_tesim":["Slides VIII"],"normalized_title_ssm":["Slides VIII"],"text":["Slides VIII","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides","/repositories/2/archival_objects/198767","box 86"],"component_level_isim":[2],"parent_ids_ssim":["a0b8dca0cc27e719e79a099f","a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002"],"parent_unittitles_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_unittitles_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/198767"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"has_online_content_ssim":["false"],"child_component_count_isi":24,"level_ssm":["Box"],"level_ssim":["Box"],"sort_isi":2297,"parent_access_restrict_tesm":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"parent_access_terms_tesm":["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."],"containers_ssim":["box 86"],"_nest_path_":"/components#2/components#10","_nest_parent_":"a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002","_root_":"a0b8dca0cc27e719e79a099f","_version_":1872946110924849152,"timestamp":"2026-08-08T09:16:41.949Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"a0b8dca0cc27e719e79a099f","title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records"],"title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records"],"ead_ssi":"a0b8dca0cc27e719e79a099f","unitdate_ssm":["1937-2019"],"unitdate_inclusive_ssm":["1937-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2020-03","/repositories/2/resources/583"],"text":["MS-2020-03","/repositories/2/resources/583","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration","Good.","Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.","This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.","Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.","The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.","This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.","Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.","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.","The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.","USF Libraries - Tampa Special Collections","Ed Carlson","English"],"unitid_tesim":["MS-2020-03","/repositories/2/resources/583"],"normalized_date_ssm":["1937-2019"],"normalized_title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Ed Carlson"],"creator_ssim":["Ed Carlson"],"creator_persname_ssim":["Ed Carlson"],"creators_ssim":["Ed Carlson"],"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":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"access_subjects_ssm":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good."],"extent_ssm":["51 Linear Feet","96 boxes"],"extent_tesim":["51 Linear Feet","96 boxes"],"date_range_isim":[1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eUntil 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"arrangement_html_tesm":["\u003cp\u003eThis collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically."],"bioghist_html_tesm":["\u003cp\u003eAudubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.\u003c/p\u003e"],"bioghist_heading_ssm":["Content Description"],"bioghist_tesim":["Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns."],"odd_html_tesm":["\u003cp\u003eThe Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.\u003c/p\u003e"],"odd_heading_ssm":["Cataloged Publications"],"odd_tesim":["The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings."],"separatedmaterial_html_tesm":["\u003cp\u003eMaps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series."],"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_bf60a5a83f90c49360b71829ac95b658\"\u003eThe Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.\u003c/abstract\u003e"],"abstract_tesim":["The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River."],"names_ssim":["USF Libraries - Tampa Special Collections","Ed Carlson"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Ed Carlson"],"language_ssim":["English"],"total_component_count_is":2704,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1872946110924849152,"_root_":"a0b8dca0cc27e719e79a099f","timestamp":"2026-08-08T09:16:41.949Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_ad6e093f038b500afdcf9616360025dc"}},{"id":"18ce43a3c782b797db9fa781_aspace_179903","type":"Box","attributes":{"title":"Slides - Wood-framed slides, Panorama slides","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179903#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179903","ref_ssm":["aspace_179903","aspace_179903"],"id":"18ce43a3c782b797db9fa781_aspace_179903","title_filing_ssi":"Slides - Wood-framed slides, Panorama slides","title_ssm":["Slides - Wood-framed slides, Panorama slides"],"title_tesim":["Slides - Wood-framed slides, Panorama slides"],"normalized_title_ssm":["Slides - Wood-framed slides, Panorama slides"],"text":["Slides - Wood-framed slides, Panorama slides","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","35","/repositories/2/archival_objects/82155","box 35"],"component_level_isim":[1],"parent_ids_ssim":["18ce43a3c782b797db9fa781"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"parent_levels_ssm":["collection"],"unitid_ssm":["35","/repositories/2/archival_objects/82155"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"has_online_content_ssim":["false"],"child_component_count_isi":2,"level_ssm":["Box"],"level_ssim":["Box"],"sort_isi":2319,"parent_access_restrict_tesm":["Fragile materials served by appointment. Gloves required."],"parent_access_terms_tesm":["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."],"containers_ssim":["box 35"],"_nest_path_":"/components#34","_nest_parent_":"18ce43a3c782b797db9fa781","_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179903"}},{"id":"a0b8dca0cc27e719e79a099f_aspace_9fd9e19c6e21660ebe4fbc7d14cbf290","type":"Box","attributes":{"title":"Slides X","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_9fd9e19c6e21660ebe4fbc7d14cbf290#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_9fd9e19c6e21660ebe4fbc7d14cbf290","ref_ssm":["aspace_9fd9e19c6e21660ebe4fbc7d14cbf290","aspace_9fd9e19c6e21660ebe4fbc7d14cbf290"],"id":"a0b8dca0cc27e719e79a099f_aspace_9fd9e19c6e21660ebe4fbc7d14cbf290","title_filing_ssi":"Slides X","title_ssm":["Slides X"],"title_tesim":["Slides X"],"normalized_title_ssm":["Slides X"],"text":["Slides X","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides","/repositories/2/archival_objects/198817","box 88"],"component_level_isim":[2],"parent_ids_ssim":["a0b8dca0cc27e719e79a099f","a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002"],"parent_unittitles_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_unittitles_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/198817"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"has_online_content_ssim":["false"],"child_component_count_isi":24,"level_ssm":["Box"],"level_ssim":["Box"],"sort_isi":2347,"parent_access_restrict_tesm":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"parent_access_terms_tesm":["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."],"containers_ssim":["box 88"],"_nest_path_":"/components#2/components#12","_nest_parent_":"a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002","_root_":"a0b8dca0cc27e719e79a099f","_version_":1872946110924849152,"timestamp":"2026-08-08T09:16:41.949Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"a0b8dca0cc27e719e79a099f","title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records"],"title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records"],"ead_ssi":"a0b8dca0cc27e719e79a099f","unitdate_ssm":["1937-2019"],"unitdate_inclusive_ssm":["1937-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2020-03","/repositories/2/resources/583"],"text":["MS-2020-03","/repositories/2/resources/583","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration","Good.","Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.","This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.","Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.","The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.","This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.","Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.","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.","The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.","USF Libraries - Tampa Special Collections","Ed Carlson","English"],"unitid_tesim":["MS-2020-03","/repositories/2/resources/583"],"normalized_date_ssm":["1937-2019"],"normalized_title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Ed Carlson"],"creator_ssim":["Ed Carlson"],"creator_persname_ssim":["Ed Carlson"],"creators_ssim":["Ed Carlson"],"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":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"access_subjects_ssm":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good."],"extent_ssm":["51 Linear Feet","96 boxes"],"extent_tesim":["51 Linear Feet","96 boxes"],"date_range_isim":[1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eUntil 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"arrangement_html_tesm":["\u003cp\u003eThis collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically."],"bioghist_html_tesm":["\u003cp\u003eAudubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.\u003c/p\u003e"],"bioghist_heading_ssm":["Content Description"],"bioghist_tesim":["Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns."],"odd_html_tesm":["\u003cp\u003eThe Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.\u003c/p\u003e"],"odd_heading_ssm":["Cataloged Publications"],"odd_tesim":["The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings."],"separatedmaterial_html_tesm":["\u003cp\u003eMaps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series."],"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_bf60a5a83f90c49360b71829ac95b658\"\u003eThe Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.\u003c/abstract\u003e"],"abstract_tesim":["The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River."],"names_ssim":["USF Libraries - Tampa Special Collections","Ed Carlson"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Ed Carlson"],"language_ssim":["English"],"total_component_count_is":2704,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1872946110924849152,"_root_":"a0b8dca0cc27e719e79a099f","timestamp":"2026-08-08T09:16:41.949Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_9fd9e19c6e21660ebe4fbc7d14cbf290"}},{"id":"a0b8dca0cc27e719e79a099f_aspace_1e503ed112bc715a2be9dfa784e31e24","type":"Box","attributes":{"title":"Slides XI","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_1e503ed112bc715a2be9dfa784e31e24#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_1e503ed112bc715a2be9dfa784e31e24","ref_ssm":["aspace_1e503ed112bc715a2be9dfa784e31e24","aspace_1e503ed112bc715a2be9dfa784e31e24"],"id":"a0b8dca0cc27e719e79a099f_aspace_1e503ed112bc715a2be9dfa784e31e24","title_filing_ssi":"Slides XI","title_ssm":["Slides XI"],"title_tesim":["Slides XI"],"normalized_title_ssm":["Slides XI"],"text":["Slides XI","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides","/repositories/2/archival_objects/198842","box 89"],"component_level_isim":[2],"parent_ids_ssim":["a0b8dca0cc27e719e79a099f","a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002"],"parent_unittitles_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_unittitles_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/198842"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"has_online_content_ssim":["false"],"child_component_count_isi":24,"level_ssm":["Box"],"level_ssim":["Box"],"sort_isi":2372,"parent_access_restrict_tesm":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"parent_access_terms_tesm":["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."],"containers_ssim":["box 89"],"_nest_path_":"/components#2/components#13","_nest_parent_":"a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002","_root_":"a0b8dca0cc27e719e79a099f","_version_":1872946110924849152,"timestamp":"2026-08-08T09:16:41.949Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"a0b8dca0cc27e719e79a099f","title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records"],"title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records"],"ead_ssi":"a0b8dca0cc27e719e79a099f","unitdate_ssm":["1937-2019"],"unitdate_inclusive_ssm":["1937-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2020-03","/repositories/2/resources/583"],"text":["MS-2020-03","/repositories/2/resources/583","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration","Good.","Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.","This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.","Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.","The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.","This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.","Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.","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.","The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.","USF Libraries - Tampa Special Collections","Ed Carlson","English"],"unitid_tesim":["MS-2020-03","/repositories/2/resources/583"],"normalized_date_ssm":["1937-2019"],"normalized_title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Ed Carlson"],"creator_ssim":["Ed Carlson"],"creator_persname_ssim":["Ed Carlson"],"creators_ssim":["Ed Carlson"],"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":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"access_subjects_ssm":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good."],"extent_ssm":["51 Linear Feet","96 boxes"],"extent_tesim":["51 Linear Feet","96 boxes"],"date_range_isim":[1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eUntil 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"arrangement_html_tesm":["\u003cp\u003eThis collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically."],"bioghist_html_tesm":["\u003cp\u003eAudubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.\u003c/p\u003e"],"bioghist_heading_ssm":["Content Description"],"bioghist_tesim":["Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns."],"odd_html_tesm":["\u003cp\u003eThe Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.\u003c/p\u003e"],"odd_heading_ssm":["Cataloged Publications"],"odd_tesim":["The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings."],"separatedmaterial_html_tesm":["\u003cp\u003eMaps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series."],"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_bf60a5a83f90c49360b71829ac95b658\"\u003eThe Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.\u003c/abstract\u003e"],"abstract_tesim":["The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River."],"names_ssim":["USF Libraries - Tampa Special Collections","Ed Carlson"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Ed Carlson"],"language_ssim":["English"],"total_component_count_is":2704,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1872946110924849152,"_root_":"a0b8dca0cc27e719e79a099f","timestamp":"2026-08-08T09:16:41.949Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_1e503ed112bc715a2be9dfa784e31e24"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Sam Gibbons collection, 1940-2000, 1996, bulk 1960-1996","value":"Sam Gibbons collection, 1940-2000, 1996, bulk 1960-1996","hits":392},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Sam+Gibbons+collection%2C+1940-2000%2C+1996%2C+bulk+1960-1996\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"Jonas and Edna Kamlet / Kamlet Laboratories records, 1913-1989, Date acquired: 00/00/2006","value":"Jonas and Edna Kamlet / Kamlet Laboratories records, 1913-1989, Date acquired: 00/00/2006","hits":369},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Jonas+and+Edna+Kamlet+%2F+Kamlet+Laboratories+records%2C+1913-1989%2C+Date+acquired%3A+00%2F00%2F2006\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"LeRoy Collins papers, 1945-1993, Date acquired: 00/00/1962, bulk 1953-1968","value":"LeRoy Collins papers, 1945-1993, Date acquired: 00/00/1962, bulk 1953-1968","hits":366},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=LeRoy+Collins+papers%2C+1945-1993%2C+Date+acquired%3A+00%2F00%2F1962%2C+bulk+1953-1968\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","value":"Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","hits":344},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Hampton+Dunn+collection%2C+1916-2002%2C+Date+acquired%3A+00%2F00%2F1981%2C+bulk+1960-2002\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"Anthony P. \"Tony\" Pizzo collection, 1824-1994, Date acquired: 10/23/1982","value":"Anthony P. \"Tony\" Pizzo collection, 1824-1994, Date acquired: 10/23/1982","hits":261},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Anthony+P.+%22Tony%22+Pizzo+collection%2C+1824-1994%2C+Date+acquired%3A+10%2F23%2F1982\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"Centro Asturiano de Tampa collection, 1902-2007, Date acquired: 00/00/1989, bulk 1902-1987","value":"Centro Asturiano de Tampa collection, 1902-2007, Date acquired: 00/00/1989, bulk 1902-1987","hits":235},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Centro+Asturiano+de+Tampa+collection%2C+1902-2007%2C+Date+acquired%3A+00%2F00%2F1989%2C+bulk+1902-1987\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"Piers Anthony collection, 1956-1996, Date acquired: 12/10/1991","value":"Piers Anthony collection, 1956-1996, Date acquired: 12/10/1991","hits":233},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Piers+Anthony+collection%2C+1956-1996%2C+Date+acquired%3A+12%2F10%2F1991\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"USF Athletics collection, bulk 1956-Present","value":"USF Athletics collection, bulk 1956-Present","hits":229},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=USF+Athletics+collection%2C+bulk+1956-Present\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"Jan K. Platt papers, 1974-2004, Date acquired: 00/00/1996","value":"Jan K. Platt papers, 1974-2004, Date acquired: 00/00/1996","hits":213},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Jan+K.+Platt+papers%2C+1974-2004%2C+Date+acquired%3A+00%2F00%2F1996\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"Pam Iorio collection, 1978-","value":"Pam Iorio collection, 1978-","hits":205},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Pam+Iorio+collection%2C+1978-\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"Sheriff Chad Chronister Hillsborough County Sheriff's Office (HCSO) historical collection, 1920-2000","value":"Sheriff Chad Chronister Hillsborough County Sheriff's Office (HCSO) historical collection, 1920-2000","hits":174},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Sheriff+Chad+Chronister+Hillsborough+County+Sheriff%27s+Office+%28HCSO%29+historical+collection%2C+1920-2000\u0026f%5Blevel%5D%5B%5D=Box"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/collection_ssim.json?f%5Blevel%5D%5B%5D=Box"}},{"type":"facet","id":"creator_ssim","attributes":{"label":"Creator","items":[{"attributes":{"label":"LaGodna, Martin (1937-)","value":"LaGodna, Martin (1937-)","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=LaGodna%2C+Martin+%281937-%29\u0026f%5Blevel%5D%5B%5D=Box"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/creator_ssim.json?f%5Blevel%5D%5B%5D=Box"}},{"type":"facet","id":"date_range_isim","attributes":{"label":"Date range","items":[{"attributes":{"label":"1970","value":"1970","hits":76},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1970\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1969","value":"1969","hits":71},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1969\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1968","value":"1968","hits":66},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1968\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1971","value":"1971","hits":64},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1971\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1967","value":"1967","hits":57},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1967\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2000","value":"2000","hits":54},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2000\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1972","value":"1972","hits":53},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1972\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1977","value":"1977","hits":51},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1977\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2001","value":"2001","hits":51},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2001\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1999","value":"1999","hits":50},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1999\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1998","value":"1998","hits":49},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1998\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1966","value":"1966","hits":48},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1966\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1974","value":"1974","hits":48},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1974\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1976","value":"1976","hits":48},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1976\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1978","value":"1978","hits":47},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1978\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1979","value":"1979","hits":47},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1979\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1995","value":"1995","hits":47},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1995\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1996","value":"1996","hits":47},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1996\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2002","value":"2002","hits":47},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2002\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2003","value":"2003","hits":47},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2003\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1991","value":"1991","hits":46},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1991\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1992","value":"1992","hits":46},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1992\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1997","value":"1997","hits":46},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1997\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1973","value":"1973","hits":45},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2009","value":"2009","hits":45},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2009\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1965","value":"1965","hits":44},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1965\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1980","value":"1980","hits":44},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1980\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1975","value":"1975","hits":43},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1975\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1986","value":"1986","hits":43},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1986\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1990","value":"1990","hits":43},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1990\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2008","value":"2008","hits":43},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2008\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1981","value":"1981","hits":42},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1981\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1993","value":"1993","hits":42},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1993\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1994","value":"1994","hits":42},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1994\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2004","value":"2004","hits":42},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2004\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2005","value":"2005","hits":42},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2005\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2006","value":"2006","hits":42},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2006\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1938","value":"1938","hits":41},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1938\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1939","value":"1939","hits":41},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1939\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1944","value":"1944","hits":41},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1944\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1964","value":"1964","hits":41},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1964\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2010","value":"2010","hits":41},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2010\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2011","value":"2011","hits":41},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2011\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1940","value":"1940","hits":40},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1940\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1985","value":"1985","hits":40},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1985\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1937","value":"1937","hits":39},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1937\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1943","value":"1943","hits":39},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1943\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1946","value":"1946","hits":39},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1946\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1982","value":"1982","hits":39},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1982\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1983","value":"1983","hits":39},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1983\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1989","value":"1989","hits":39},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1989\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2007","value":"2007","hits":39},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2007\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1935","value":"1935","hits":38},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1936","value":"1936","hits":38},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1936\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1942","value":"1942","hits":38},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1942\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1948","value":"1948","hits":38},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1948\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1984","value":"1984","hits":38},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1984\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1941","value":"1941","hits":37},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1941\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1945","value":"1945","hits":37},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1945\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1963","value":"1963","hits":37},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1963\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1947","value":"1947","hits":36},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1947\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1949","value":"1949","hits":36},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1949\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1950","value":"1950","hits":36},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1950\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1957","value":"1957","hits":36},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1957\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1958","value":"1958","hits":36},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1958\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1961","value":"1961","hits":36},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1961\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1962","value":"1962","hits":36},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1962\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1987","value":"1987","hits":36},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1987\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1988","value":"1988","hits":36},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1988\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2012","value":"2012","hits":36},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1931","value":"1931","hits":35},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1931\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1932","value":"1932","hits":35},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1932\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2013","value":"2013","hits":35},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2013\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1930","value":"1930","hits":34},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1930\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1933","value":"1933","hits":34},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1933\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1934","value":"1934","hits":34},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1934\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1960","value":"1960","hits":34},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1960\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1923","value":"1923","hits":33},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1923\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1928","value":"1928","hits":33},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1952","value":"1952","hits":33},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1952\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1955","value":"1955","hits":33},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1955\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1956","value":"1956","hits":33},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1956\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1959","value":"1959","hits":33},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1959\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1922","value":"1922","hits":32},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1922\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1924","value":"1924","hits":32},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1924\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1925","value":"1925","hits":32},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1929","value":"1929","hits":32},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1929\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2014","value":"2014","hits":32},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2014\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1951","value":"1951","hits":31},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1951\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1915","value":"1915","hits":30},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1915\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1921","value":"1921","hits":30},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1921\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1927","value":"1927","hits":30},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1927\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1953","value":"1953","hits":30},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1953\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1954","value":"1954","hits":30},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1954\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1926","value":"1926","hits":29},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1926\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1916","value":"1916","hits":28},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1916\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"2015","value":"2015","hits":28},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2015\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1917","value":"1917","hits":27},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1917\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1919","value":"1919","hits":27},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1919\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"1920","value":"1920","hits":27},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1920\u0026f%5Blevel%5D%5B%5D=Box"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/date_range_isim.json?f%5Blevel%5D%5B%5D=Box"}},{"type":"facet","id":"level_ssim","attributes":{"label":"Level","items":[{"attributes":{"label":"Box","value":"Box","hits":9618},"links":{"remove":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/level_ssim.json?f%5Blevel%5D%5B%5D=Box"}},{"type":"facet","id":"names_ssim","attributes":{"label":"Names","items":[{"attributes":{"label":"Eastman Kodak Company","value":"Eastman Kodak Company","hits":6},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Bnames%5D%5B%5D=Eastman+Kodak+Company"}},{"attributes":{"label":"Catts, Sidney Johnston, 1863-1936","value":"Catts, Sidney Johnston, 1863-1936","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Bnames%5D%5B%5D=Catts%2C+Sidney+Johnston%2C+1863-1936"}},{"attributes":{"label":"Bowyer, F.C. (Frank Clayton), 1869-1925","value":"Bowyer, F.C. (Frank Clayton), 1869-1925","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Bnames%5D%5B%5D=Bowyer%2C+F.C.+%28Frank+Clayton%29%2C+1869-1925"}},{"attributes":{"label":"Florida. Governor (1917-1921 : Catts)","value":"Florida. Governor (1917-1921 : Catts)","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Bnames%5D%5B%5D=Florida.+Governor+%281917-1921+%3A+Catts%29"}},{"attributes":{"label":"Francis, Roy G. (1919-)","value":"Francis, Roy G. (1919-)","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Bnames%5D%5B%5D=Francis%2C+Roy+G.+%281919-%29"}},{"attributes":{"label":"Kross, Walter, active 1934-1956","value":"Kross, Walter, active 1934-1956","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Bnames%5D%5B%5D=Kross%2C+Walter%2C+active+1934-1956"}},{"attributes":{"label":"LaGodna, Martin (1937-)","value":"LaGodna, Martin (1937-)","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Bnames%5D%5B%5D=LaGodna%2C+Martin+%281937-%29"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/names_ssim.json?f%5Blevel%5D%5B%5D=Box"}},{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"USF Libraries - Tampa Special Collections","value":"USF Libraries - Tampa Special Collections","hits":8882},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Brepository%5D%5B%5D=USF+Libraries+-+Tampa+Special+Collections"}},{"attributes":{"label":"Thomas B. Mack Florida Citrus Archives","value":"Thomas B. Mack Florida Citrus Archives","hits":239},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Brepository%5D%5B%5D=Thomas+B.+Mack+Florida+Citrus+Archives"}},{"attributes":{"label":"UWF University Archives and West Florida History Center","value":"UWF University Archives and West Florida History Center","hits":233},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Brepository%5D%5B%5D=UWF+University+Archives+and+West+Florida+History+Center"}},{"attributes":{"label":"The Florida Southern College Archives","value":"The Florida Southern College Archives","hits":161},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Brepository%5D%5B%5D=The+Florida+Southern+College+Archives"}},{"attributes":{"label":"USF Libraries - St. Petersburg Special Collections \u0026 University Archives","value":"USF Libraries - St. Petersburg Special Collections \u0026 University Archives","hits":38},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Brepository%5D%5B%5D=USF+Libraries+-+St.+Petersburg+Special+Collections+%26+University+Archives"}},{"attributes":{"label":"Florida Gulf Coast University Special Collections","value":"Florida Gulf Coast University Special Collections","hits":35},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Brepository%5D%5B%5D=Florida+Gulf+Coast+University+Special+Collections"}},{"attributes":{"label":"The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections","value":"The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections","hits":23},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Brepository%5D%5B%5D=The+Sarah+D.+and+L.+Kirk+McKay%2C+Jr.+Archives+Center+Manuscript+Collections"}},{"attributes":{"label":"Florida Gulf Coast University Archives","value":"Florida Gulf Coast University Archives","hits":6},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Brepository%5D%5B%5D=Florida+Gulf+Coast+University+Archives"}},{"attributes":{"label":"FSU Special Collections \u0026 Archives","value":"FSU Special Collections \u0026 Archives","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Brepository%5D%5B%5D=FSU+Special+Collections+%26+Archives"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/repository_ssim.json?f%5Blevel%5D%5B%5D=Box"}},{"type":"facet","id":"geogname_ssim","attributes":{"label":"Places","items":[{"attributes":{"label":"Commencement ceremonies","value":"Commencement ceremonies","hits":5},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Bplaces%5D%5B%5D=Commencement+ceremonies"}},{"attributes":{"label":"Community organization.","value":"Community organization.","hits":4},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Bplaces%5D%5B%5D=Community+organization."}},{"attributes":{"label":"Vero Beach (Fla.)","value":"Vero Beach (Fla.)","hits":4},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026f%5Bplaces%5D%5B%5D=Vero+Beach+%28Fla.%29"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/geogname_ssim.json?f%5Blevel%5D%5B%5D=Box"}},{"type":"facet","id":"access_subjects_ssim","attributes":{"label":"Subjects","items":[{"attributes":{"label":"Maps","value":"Maps","hits":23},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Maps\u0026f%5Blevel%5D%5B%5D=Box"}},{"attributes":{"label":"American Association of University Women","value":"American Association of University Women","hits":4},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=American+Association+of+University+Women\u0026f%5Blevel%5D%5B%5D=Box"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/access_subjects_ssim.json?f%5Blevel%5D%5B%5D=Box"}},{"type":"search_field","id":"all_fields","attributes":{"label":"All Fields"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026search_field=all_fields"}},{"type":"search_field","id":"keyword","attributes":{"label":"Keyword"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026search_field=keyword"}},{"type":"search_field","id":"name","attributes":{"label":"Name"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026search_field=name"}},{"type":"search_field","id":"place","attributes":{"label":"Place"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026search_field=place"}},{"type":"search_field","id":"subject","attributes":{"label":"Subject"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026search_field=subject"}},{"type":"search_field","id":"title","attributes":{"label":"Title"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026search_field=title"}},{"type":"search_field","id":"container","attributes":{"label":"Container"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026search_field=container"}},{"type":"search_field","id":"identifier","attributes":{"label":"Identifier"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026search_field=identifier"}},{"type":"sort","id":"score desc, title_sort asc","attributes":{"label":"relevance"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026sort=score+desc%2C+title_sort+asc"}},{"type":"sort","id":"date_sort asc","attributes":{"label":"date (ascending)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026sort=date_sort+asc"}},{"type":"sort","id":"date_sort desc","attributes":{"label":"date (descending)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026sort=date_sort+desc"}},{"type":"sort","id":"creator_sort asc","attributes":{"label":"creator (A-Z)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026sort=creator_sort+asc"}},{"type":"sort","id":"creator_sort desc","attributes":{"label":"creator (Z-A)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026sort=creator_sort+desc"}},{"type":"sort","id":"title_sort asc","attributes":{"label":"title (A-Z)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026sort=title_sort+asc"}},{"type":"sort","id":"title_sort desc","attributes":{"label":"title (Z-A)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box\u0026page=887\u0026sort=title_sort+desc"}}]}