{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box+\u0026page=5","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box+\u0026page=4","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Box+\u0026page=5"},"meta":{"pages":{"current_page":5,"next_page":null,"prev_page":4,"total_pages":5,"limit_value":10,"offset_value":40,"total_count":48,"first_page?":false,"last_page?":true}},"data":[{"id":"2e02eaf59ede96fa84ff4688_aspace_113475","type":"Box ","attributes":{"title":"Manuscripts - Katherine Mansfield Beauchamp","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2e02eaf59ede96fa84ff4688_aspace_113475#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_113475","ref_ssm":["aspace_113475","aspace_113475"],"id":"2e02eaf59ede96fa84ff4688_aspace_113475","title_filing_ssi":"Manuscripts - Katherine Mansfield Beauchamp","title_ssm":["Manuscripts - Katherine Mansfield Beauchamp"],"title_tesim":["Manuscripts - Katherine Mansfield Beauchamp"],"normalized_title_ssm":["Manuscripts - Katherine Mansfield Beauchamp"],"text":["Manuscripts - Katherine Mansfield Beauchamp","Lucy and Michael O'Brien papers, 1920-1985, Date acquired: 00/00/1962","10","/repositories/2/archival_objects/39897","box 10"],"component_level_isim":[1],"parent_ids_ssim":["2e02eaf59ede96fa84ff4688"],"parent_unittitles_ssm":["Lucy and Michael O'Brien papers, 1920-1985, Date acquired: 00/00/1962"],"parent_unittitles_tesim":["Lucy and Michael O'Brien papers, 1920-1985, Date acquired: 00/00/1962"],"parent_levels_ssm":["collection"],"unitid_ssm":["10","/repositories/2/archival_objects/39897"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Lucy and Michael O'Brien papers, 1920-1985, Date acquired: 00/00/1962"],"has_online_content_ssim":["false"],"child_component_count_isi":5,"level_ssm":["Box "],"level_ssim":["Box "],"sort_isi":105,"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 10"],"_nest_path_":"/components#9","_nest_parent_":"2e02eaf59ede96fa84ff4688","_root_":"2e02eaf59ede96fa84ff4688","_version_":1870862620156755968,"timestamp":"2026-07-16T09:20:30.366Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2e02eaf59ede96fa84ff4688","title_ssm":["Lucy and Michael O'Brien papers"],"title_tesim":["Lucy and Michael O'Brien papers"],"ead_ssi":"2e02eaf59ede96fa84ff4688","unitdate_ssm":["1920-1985","Date acquired: 00/00/1962"],"unitdate_inclusive_ssm":["1920-1985"],"unitdate_other_ssim":["Date acquired: 00/00/1962"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1965-04","/repositories/2/resources/228"],"text":["MS-1965-04","/repositories/2/resources/228","Lucy and Michael O'Brien papers, 1920-1985, Date acquired: 00/00/1962","Tampa (Fla.) -- History -- 20th century","Journalists -- Florida","Journalists -- Florida -- Tampa","O'Brien, Lucy Fulghum -- Correspondence","This collection is arranged by material type:","1.  Correspondence: Letters to and from Jack Wilson, as well as a myriad of book publishers and personal friends. 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Originally located in the Hyde Park district of Tampa, Florida, the store eventually moved to Ybor City and became the first retain tenant in Ybor Square.","Note written by Kevin Arms, 2013","O'Brien, Lucy F.  The Tribune's First Woman Reporter.  In  Tampa Bay history , Vol 4. No. 1.  Tampa, Fl: Dept. of History, College of Social and Behavioral Sciences, University of South Florida.","http://digital.lib.usf.edu:8080/fedora/get/usfldc:T06-v04n1_82-000/DOCUMENT?search_terms=Vol%204","O'Brien, Lucy F. From 17 to 71: Poems. Tampa: s.n., 1985. Print","O'Brien, Lucy Fulghum. \"The Tribune's First Woman Reporter.\"  Tampa Bay History  4.1 (Spring/Summer 1982), 50-68.  ","O'Brien, Lucy F.  Florida Facts \u0026 Figures Everyone Uses . Tampa, Fla: Trend House, 1969. Print.","O'Brien, Lucy F.  The Mourners and the Mourned . Philadelphia, 1947. 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Also included are manuscripts of Michael O'Brien's short stories.","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.","A collection of personal correspondence, writings, and research.","USF Libraries - Tampa Special Collections","O'Brien, Lucy Fulghum","O'Brien, Michael (1909-1980)","Mansfield, Katherine (1888-1923)","English"],"unitid_tesim":["MS-1965-04","/repositories/2/resources/228"],"normalized_date_ssm":["1920-1985, Date acquired: 00/00/1962"],"normalized_title_ssm":["Lucy and Michael O'Brien papers, 1920-1985, Date acquired: 00/00/1962"],"collection_title_tesim":["Lucy and Michael O'Brien papers, 1920-1985, Date acquired: 00/00/1962"],"collection_ssim":["Lucy and Michael O'Brien papers, 1920-1985, Date acquired: 00/00/1962"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.) -- History -- 20th century"],"geogname_ssim":["Tampa (Fla.) -- History -- 20th century"],"creator_ssm":["O'Brien, Lucy Fulghum","O'Brien, Michael (1909-1980)"],"creator_ssim":["O'Brien, Lucy Fulghum","O'Brien, Michael (1909-1980)"],"creator_persname_ssim":["O'Brien, Lucy Fulghum","O'Brien, Michael (1909-1980)"],"creators_ssim":["O'Brien, Lucy Fulghum","O'Brien, Michael (1909-1980)"],"places_ssim":["Tampa (Fla.) -- History -- 20th century"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Lucy and Michael O'Brien","Donation"],"access_subjects_ssim":["Journalists -- Florida","Journalists -- Florida -- Tampa","O'Brien, Lucy Fulghum -- Correspondence"],"access_subjects_ssm":["Journalists -- Florida","Journalists -- Florida -- Tampa","O'Brien, Lucy Fulghum -- Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["5.63 Linear Feet","15 boxes"],"extent_tesim":["5.63 Linear Feet","15 boxes"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged by material type:\u003c/p\u003e\n","\u003cp\u003e1.\u0026#xA0; Correspondence: Letters to and from Jack Wilson, as well as a myriad of book publishers and personal friends. Includes some letters regarding research on Katherine Mansfield Beauchamp.\u003c/p\u003e\n","\u003cp\u003e2. Miscellaneous: Photographs, interview notes and Fulghum Family genealogy\u003c/p\u003e\n","\u003cp\u003e3. Writings: Newspaper Articles, Women's World columns, manuscripts of poems and two unpublished books.\u003c/p\u003e\n","\u003cp\u003e4. Research on Katherine Mansfield Beauchamp: Scrapbooks, notebooks and manuscripts of unpublished works.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["This collection is arranged by material type:","1.  Correspondence: Letters to and from Jack Wilson, as well as a myriad of book publishers and personal friends. Includes some letters regarding research on Katherine Mansfield Beauchamp.","2. Miscellaneous: Photographs, interview notes and Fulghum Family genealogy","3. Writings: Newspaper Articles, Women's World columns, manuscripts of poems and two unpublished books.","4. Research on Katherine Mansfield Beauchamp: Scrapbooks, notebooks and manuscripts of unpublished works."],"bioghist_html_tesm":["\u003cp\u003eLucy Fulghum O'Brien was a journalist and author. O'Brien attended Florida State College of Women where, in 1935, she earned her Bachelor of Arts degree with honors in Journalism.O'Brien was the first woman report to cover breaking news for \u003cemph render=\"italic\"\u003eT\u003c/emph\u003e\u003cemph render=\"italic\"\u003ehe \u003c/emph\u003e\u003cemph render=\"italic\"\u003eTampa Tribune. \u003c/emph\u003eMany of O'Brien's articles were published under the pseudonyms Julie Dale and Ruth Alden. After retiring from the \u003cemph render=\"italic\"\u003eTribune\u003c/emph\u003e, O'Brien opened an antiques store, The Red Horse. Originally located in the Hyde Park district of Tampa, Florida, the store eventually moved to Ybor City and became the first retain tenant in Ybor Square.\u003c/p\u003e\n","\u003cp\u003eNote written by Kevin Arms, 2013\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Lucy Fulghum O'Brien was a journalist and author. O'Brien attended Florida State College of Women where, in 1935, she earned her Bachelor of Arts degree with honors in Journalism.O'Brien was the first woman report to cover breaking news for  T he  Tampa Tribune.  Many of O'Brien's articles were published under the pseudonyms Julie Dale and Ruth Alden. After retiring from the  Tribune , O'Brien opened an antiques store, The Red Horse. Originally located in the Hyde Park district of Tampa, Florida, the store eventually moved to Ybor City and became the first retain tenant in Ybor Square.","Note written by Kevin Arms, 2013"],"prefercite_html_tesm":["\u003cp\u003eLucy \u0026amp; Michael O'Brien Papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Lucy \u0026 Michael O'Brien Papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eO'Brien, Lucy F. \u003cemph render=\"italic\"\u003eThe Tribune's First Woman Reporter. \u003c/emph\u003eIn \u003cemph render=\"italic\"\u003eTampa Bay history\u003c/emph\u003e, Vol 4. No. 1.\u0026#xA0; Tampa, Fl: Dept. of History, College of Social and Behavioral Sciences, University of South Florida.\u003c/p\u003e\n","\u003cp\u003ehttp://digital.lib.usf.edu:8080/fedora/get/usfldc:T06-v04n1_82-000/DOCUMENT?search_terms=Vol%204\u003c/p\u003e","\u003cp\u003eO'Brien, Lucy F. From 17 to 71: Poems. Tampa: s.n., 1985. Print\u003c/p\u003e\n","\u003cp\u003eO'Brien, Lucy Fulghum. \"The Tribune's First Woman Reporter.\" \u003cemph render=\"italic\"\u003eTampa Bay History\u003c/emph\u003e 4.1 (Spring/Summer 1982), 50-68.\u0026#xA0; \u003c/p\u003e\n","\u003cp\u003eO'Brien, Lucy F. \u003cemph render=\"italic\"\u003eFlorida Facts \u0026amp; Figures Everyone Uses\u003c/emph\u003e. Tampa, Fla: Trend House, 1969. Print.\u003c/p\u003e\n","\u003cp\u003eO'Brien, Lucy F. \u003cemph render=\"italic\"\u003eThe Mourners and the Mourned\u003c/emph\u003e. Philadelphia, 1947. Print.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Publications"],"relatedmaterial_tesim":["O'Brien, Lucy F.  The Tribune's First Woman Reporter.  In  Tampa Bay history , Vol 4. No. 1.  Tampa, Fl: Dept. of History, College of Social and Behavioral Sciences, University of South Florida.","http://digital.lib.usf.edu:8080/fedora/get/usfldc:T06-v04n1_82-000/DOCUMENT?search_terms=Vol%204","O'Brien, Lucy F. From 17 to 71: Poems. Tampa: s.n., 1985. Print","O'Brien, Lucy Fulghum. \"The Tribune's First Woman Reporter.\"  Tampa Bay History  4.1 (Spring/Summer 1982), 50-68.  ","O'Brien, Lucy F.  Florida Facts \u0026 Figures Everyone Uses . Tampa, Fla: Trend House, 1969. Print.","O'Brien, Lucy F.  The Mourners and the Mourned . Philadelphia, 1947. Print."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains correspondence, newspaper clippings, photographs, publications, notebooks, speeches and manuscripts.\u0026#xA0; Additionally, the collection contains research materials on Tampa history from the 1930s to the mid-1960s, and a substantial amount of information on Katherine Mansfield. Manuscripts included in the collection are \u003cemph render=\"italic\"\u003eThe Woman at the Opposite Table\u003c/emph\u003e, and \u003cemph render=\"italic\"\u003eThe Chuch and the Domination of Darkness\u003c/emph\u003e. Also included are manuscripts of Michael O'Brien's short stories.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains correspondence, newspaper clippings, photographs, publications, notebooks, speeches and manuscripts.  Additionally, the collection contains research materials on Tampa history from the 1930s to the mid-1960s, and a substantial amount of information on Katherine Mansfield. Manuscripts included in the collection are  The Woman at the Opposite Table , and  The Chuch and the Domination of Darkness . Also included are manuscripts of Michael O'Brien's short stories."],"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_8edebcc5bd2a26fca5a0c736e0cc21ee\" label=\"Abstract\"\u003eA collection of personal correspondence, writings, and research.\u003c/abstract\u003e"],"abstract_tesim":["A collection of personal correspondence, writings, and research."],"names_ssim":["USF Libraries - Tampa Special Collections","O'Brien, Lucy Fulghum","O'Brien, Michael (1909-1980)","Mansfield, Katherine (1888-1923)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"names_coll_ssim":["Mansfield, Katherine (1888-1923)"],"persname_ssim":["O'Brien, Lucy Fulghum","O'Brien, Michael (1909-1980)","Mansfield, Katherine (1888-1923)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":135,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870862620156755968,"_root_":"2e02eaf59ede96fa84ff4688","timestamp":"2026-07-16T09:20:30.366Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2e02eaf59ede96fa84ff4688_aspace_113475"}},{"id":"82c0014c0ee2a606387c6c13_aspace_86071","type":"Box ","attributes":{"title":"Miscellaneous","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/82c0014c0ee2a606387c6c13_aspace_86071#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_86071","ref_ssm":["aspace_86071","aspace_86071"],"id":"82c0014c0ee2a606387c6c13_aspace_86071","title_filing_ssi":"Miscellaneous","title_ssm":["Miscellaneous"],"title_tesim":["Miscellaneous"],"normalized_title_ssm":["Miscellaneous"],"text":["Miscellaneous","Frederik Pohl papers, 1952-2006, Date acquired: 08/00/2005","The Day the Martians Came","16","/repositories/2/archival_objects/118467","box 16"],"component_level_isim":[2],"parent_ids_ssim":["82c0014c0ee2a606387c6c13","82c0014c0ee2a606387c6c13_aspace_85933"],"parent_unittitles_ssm":["Frederik Pohl papers, 1952-2006, Date acquired: 08/00/2005","The Day the Martians Came"],"parent_unittitles_tesim":["Frederik Pohl papers, 1952-2006, Date acquired: 08/00/2005","The Day the Martians Came"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["16","/repositories/2/archival_objects/118467"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Frederik Pohl papers, 1952-2006, Date acquired: 08/00/2005"],"has_online_content_ssim":["false"],"child_component_count_isi":7,"level_ssm":["Box "],"level_ssim":["Box "],"sort_isi":128,"parent_access_terms_tesm":["Open for scholarly research use.  Copyright retained by Frederik Pohl. 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Pohl earned virtually every significant award the field of science fiction offered, many of them more than once.  The World Science Fiction Society (WSFS) presented him with six Hugo awards, three for writing and three for editing.  The Science Fiction and Fantasy Writers of America (SFWA) recognized him with two Nebula awards, and in 1993 named him a SFWA Grand Master.  He was inducted into the Science Fiction Hall of Fame.  Beyond the field of science fiction, Pohl was a noted lecturer and writer in the fields of future studies and environmental studies.  He wrote nonfiction books and articles on topics ranging from global warming to the life of the Roman emperor Tiberius.  He was a Fellow of the British Interplanetary Society and the American Association for the Advancement of Science.","published","Frederik Pohl Collection, Cushing Memorial Library, Texas A\u0026M University, College Station, Texas.","http://www.lib.utexas.edu/taro/tamucush/00213/tamu-00213.html","Pohl, Frederik.  The Way the Future Was: A Memoir . New York: Ballantine Books, 1978. Print.","Pohl, Frederik.  The Early Pohl . Garden City, N.Y: Doubleday, 1976. Print.","Pohl, Frederik.  Man Plus . New York: Random House, 1976. Print.","Pohl, Frederik.  Homegoing . New York: Ballantine Books, 1989. Print.","Pohl, Frederik.  Chernobyl: A Novel . Toronto: Bantam Books, 1987. Print.","Pohl, Frederik.  The Annals of the Heechee . New York: Ballantine Books, 1987. Print.","Pohl, Frederik.  Black Star Rising . New York: Ballantine Books, 1985. Print.","Pohl, Frederik.  O Pioneer!  New York: Tor, 1998. Print.","The Pohl Papers are comprised principally of manuscripts, drafts, notes, proofs, and other documents relating to science fiction and nonfiction works written by Frederik Pohl.  The collection also includes correspondence, speeches given by Mr. Pohl, and reviews of his publications.  Although the earliest items date from 1952, most of the materials range from the early 1970s through 2005.","Open for scholarly research use.  Copyright retained by Frederik Pohl. Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information.","USF Libraries - Tampa Special Collections","Pohl, Frederik George, Jr. (1919-2013)","English"],"unitid_tesim":["MS-2005-07","/repositories/2/resources/529"],"normalized_date_ssm":["1952-2006, Date acquired: 08/00/2005"],"normalized_title_ssm":["Frederik Pohl papers, 1952-2006, Date acquired: 08/00/2005"],"collection_title_tesim":["Frederik Pohl papers, 1952-2006, Date acquired: 08/00/2005"],"collection_ssim":["Frederik Pohl papers, 1952-2006, Date acquired: 08/00/2005"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Pohl, Frederik George, Jr. (1919-2013)"],"creator_ssim":["Pohl, Frederik George, Jr. (1919-2013)"],"creator_persname_ssim":["Pohl, Frederik George, Jr. (1919-2013)"],"creators_ssim":["Pohl, Frederik George, Jr. (1919-2013)"],"access_terms_ssm":["Open for scholarly research use.  Copyright retained by Frederik Pohl. Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information."],"acqinfo_ssim":["Frederik Pohl","Donation"],"access_subjects_ssim":["Environmental protection","Authors, American -- 20th century","Chernobyl Nuclear Accident, Chernobyl', Ukraine, 1986 -- Fiction","Chernobyľ (Ukraine) -- History -- 20th century -- Fiction","Nature conservation -- Political aspects","Politics, practical","Pollution","Pohl, Frederik","Science fiction -- American","Science fiction","Science Fiction, American -- History and criticism","Science Fiction Writers of America"],"access_subjects_ssm":["Environmental protection","Authors, American -- 20th century","Chernobyl Nuclear Accident, Chernobyl', Ukraine, 1986 -- Fiction","Chernobyľ (Ukraine) -- History -- 20th century -- Fiction","Nature conservation -- Political aspects","Politics, practical","Pollution","Pohl, Frederik","Science fiction -- American","Science fiction","Science Fiction, American -- History and criticism","Science Fiction Writers of America"],"has_online_content_ssim":["false"],"extent_ssm":["23.36 Linear Feet","68 boxes"],"extent_tesim":["23.36 Linear Feet","68 boxes"],"date_range_isim":[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],"accruals_html_tesm":["\u003cp\u003eThe first papers were shipped to the library in August of 2005, with subsequent accessions received in September and October 2005 and June 2006.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals and Additions"],"accruals_tesim":["The first papers were shipped to the library in August of 2005, with subsequent accessions received in September and October 2005 and June 2006."],"arrangement_html_tesm":["\u003cp\u003eCollection is organized into series alphabetically by title of work or by topic, as appropriate.\u0026#xA0; Original order was retained where extant.\u0026#xA0; Where present, the donor's notes identifying documents or groups of documents were used to generate folder headings for the container listing.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Collection is organized into series alphabetically by title of work or by topic, as appropriate.  Original order was retained where extant.  Where present, the donor's notes identifying documents or groups of documents were used to generate folder headings for the container listing."],"bioghist_html_tesm":["\u003cp\u003eFrederik Pohl, American science fiction writer, editor, and anthologist, was born in Brooklyn, New York on November 26, 1919.\u0026#xA0; In a literary career spanning nearly seventy years, Pohl wrote more than 200 short stories and over 134 books, including 54 novels, 31 story collections, 1 graphic novel, and 6 nonfiction works, in addition to editing 42 anthologies.\u0026#xA0; From 1959 to 1969, Pohl edited the award-winning science fiction magazines \u003cemph render=\"italic\"\u003eGalaxy \u003c/emph\u003eand \u003cemph render=\"italic\"\u003eIf.\u0026#xA0; \u003c/emph\u003eHe was executive editor for Ace Books, 1971 to 1973, and science fiction editor at Ballantine Books, 1973 to 1979.\u0026#xA0; He also served as president of the Science Fiction Writers of America from 1974 to 1976, and of World Science Fiction from 1980 to 1982. Pohl earned virtually every significant award the field of science fiction offered, many of them more than once.\u0026#xA0; The World Science Fiction Society (WSFS) presented him with six Hugo awards, three for writing and three for editing.\u0026#xA0; The Science Fiction and Fantasy Writers of America (SFWA) recognized him with two Nebula awards, and in 1993 named him a SFWA Grand Master.\u0026#xA0; He was inducted into the Science Fiction Hall of Fame.\u0026#xA0; Beyond the field of science fiction, Pohl was a noted lecturer and writer in the fields of future studies and environmental studies.\u0026#xA0; He wrote nonfiction books and articles on topics ranging from global warming to the life of the Roman emperor Tiberius.\u0026#xA0; He was a Fellow of the British Interplanetary Society and the American Association for the Advancement of Science.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Frederik Pohl, American science fiction writer, editor, and anthologist, was born in Brooklyn, New York on November 26, 1919.  In a literary career spanning nearly seventy years, Pohl wrote more than 200 short stories and over 134 books, including 54 novels, 31 story collections, 1 graphic novel, and 6 nonfiction works, in addition to editing 42 anthologies.  From 1959 to 1969, Pohl edited the award-winning science fiction magazines  Galaxy  and  If.   He was executive editor for Ace Books, 1971 to 1973, and science fiction editor at Ballantine Books, 1973 to 1979.  He also served as president of the Science Fiction Writers of America from 1974 to 1976, and of World Science Fiction from 1980 to 1982. Pohl earned virtually every significant award the field of science fiction offered, many of them more than once.  The World Science Fiction Society (WSFS) presented him with six Hugo awards, three for writing and three for editing.  The Science Fiction and Fantasy Writers of America (SFWA) recognized him with two Nebula awards, and in 1993 named him a SFWA Grand Master.  He was inducted into the Science Fiction Hall of Fame.  Beyond the field of science fiction, Pohl was a noted lecturer and writer in the fields of future studies and environmental studies.  He wrote nonfiction books and articles on topics ranging from global warming to the life of the Roman emperor Tiberius.  He was a Fellow of the British Interplanetary Society and the American Association for the Advancement of Science."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eFrederick Pohl Papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Frederick Pohl Papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eFrederik Pohl Collection, Cushing Memorial Library, Texas A\u0026amp;M University, College Station, Texas.\u003c/p\u003e\n","\u003cp\u003ehttp://www.lib.utexas.edu/taro/tamucush/00213/tamu-00213.html\u003c/p\u003e","\u003cp\u003ePohl, Frederik. \u003cemph render=\"italic\"\u003eThe Way the Future Was: A Memoir\u003c/emph\u003e. New York: Ballantine Books, 1978. Print.\u003c/p\u003e\n","\u003cp\u003ePohl, Frederik. \u003cemph render=\"italic\"\u003eThe Early Pohl\u003c/emph\u003e. Garden City, N.Y: Doubleday, 1976. Print.\u003c/p\u003e\n","\u003cp\u003ePohl, Frederik. \u003cemph render=\"italic\"\u003eMan Plus\u003c/emph\u003e. New York: Random House, 1976. Print.\u003c/p\u003e\n","\u003cp\u003ePohl, Frederik. \u003cemph render=\"italic\"\u003eHomegoing\u003c/emph\u003e. New York: Ballantine Books, 1989. Print.\u003c/p\u003e\n","\u003cp\u003ePohl, Frederik. \u003cemph render=\"italic\"\u003eChernobyl: A Novel\u003c/emph\u003e. Toronto: Bantam Books, 1987. Print.\u003c/p\u003e\n","\u003cp\u003ePohl, Frederik. \u003cemph render=\"italic\"\u003eThe Annals of the Heechee\u003c/emph\u003e. New York: Ballantine Books, 1987. Print.\u003c/p\u003e\n","\u003cp\u003ePohl, Frederik. \u003cemph render=\"italic\"\u003eBlack Star Rising\u003c/emph\u003e. New York: Ballantine Books, 1985. Print.\u003c/p\u003e\n","\u003cp\u003ePohl, Frederik. \u003cemph render=\"italic\"\u003eO Pioneer!\u003c/emph\u003e New York: Tor, 1998. Print.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Publications"],"relatedmaterial_tesim":["Frederik Pohl Collection, Cushing Memorial Library, Texas A\u0026M University, College Station, Texas.","http://www.lib.utexas.edu/taro/tamucush/00213/tamu-00213.html","Pohl, Frederik.  The Way the Future Was: A Memoir . New York: Ballantine Books, 1978. Print.","Pohl, Frederik.  The Early Pohl . Garden City, N.Y: Doubleday, 1976. Print.","Pohl, Frederik.  Man Plus . New York: Random House, 1976. Print.","Pohl, Frederik.  Homegoing . New York: Ballantine Books, 1989. Print.","Pohl, Frederik.  Chernobyl: A Novel . Toronto: Bantam Books, 1987. Print.","Pohl, Frederik.  The Annals of the Heechee . New York: Ballantine Books, 1987. Print.","Pohl, Frederik.  Black Star Rising . New York: Ballantine Books, 1985. Print.","Pohl, Frederik.  O Pioneer!  New York: Tor, 1998. Print."],"scopecontent_html_tesm":["\u003cp\u003eThe Pohl Papers are comprised principally of manuscripts, drafts, notes, proofs, and other documents relating to science fiction and nonfiction works written by Frederik Pohl.\u0026#xA0; The collection also includes correspondence, speeches given by Mr. Pohl, and reviews of his publications.\u0026#xA0; Although the earliest items date from 1952, most of the materials range from the early 1970s through 2005.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Pohl Papers are comprised principally of manuscripts, drafts, notes, proofs, and other documents relating to science fiction and nonfiction works written by Frederik Pohl.  The collection also includes correspondence, speeches given by Mr. Pohl, and reviews of his publications.  Although the earliest items date from 1952, most of the materials range from the early 1970s through 2005."],"userestrict_html_tesm":["\u003cp\u003eOpen for scholarly research use.\u0026#xA0; Copyright retained by Frederik Pohl. Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/%C2%A0\"\u003ehttp://www.copyright.gov/\u003c/extref\u003efor more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Open for scholarly research use.  Copyright retained by Frederik Pohl. Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information."],"names_ssim":["USF Libraries - Tampa Special Collections","Pohl, Frederik George, Jr. (1919-2013)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Pohl, Frederik George, Jr. (1919-2013)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":493,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"82c0014c0ee2a606387c6c13","timestamp":"2026-07-02T03:24:15.751Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/82c0014c0ee2a606387c6c13_aspace_86071"}},{"id":"f19d3cab491fea57c15e117d_aspace_154711","type":"Box ","attributes":{"title":"Reports, 1988-2011","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f19d3cab491fea57c15e117d_aspace_154711#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_154711","ref_ssm":["aspace_154711","aspace_154711"],"id":"f19d3cab491fea57c15e117d_aspace_154711","title_filing_ssi":"Reports","title_ssm":["Reports"],"title_tesim":["Reports"],"unitdate_inclusive_ssm":["1988-2011"],"normalized_date_ssm":["1988-2011"],"normalized_title_ssm":["Reports, 1988-2011"],"text":["Reports, 1988-2011","USF University Archives - USF Sarasota-Manatee, 1972-2016","Box 5","/repositories/2/archival_objects/104163","box 5"],"component_level_isim":[1],"parent_ids_ssim":["f19d3cab491fea57c15e117d"],"parent_unittitles_ssm":["USF University Archives - USF Sarasota-Manatee, 1972-2016"],"parent_unittitles_tesim":["USF University Archives - USF Sarasota-Manatee, 1972-2016"],"parent_levels_ssm":["collection"],"unitid_ssm":["Box 5","/repositories/2/archival_objects/104163"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["USF University Archives - USF Sarasota-Manatee, 1972-2016"],"has_online_content_ssim":["false"],"child_component_count_isi":12,"level_ssm":["Box "],"level_ssim":["Box "],"sort_isi":41,"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."],"date_range_isim":[1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011],"containers_ssim":["box 5"],"_nest_path_":"/components#4","_nest_parent_":"f19d3cab491fea57c15e117d","_root_":"f19d3cab491fea57c15e117d","timestamp":"2026-07-11T03:29:19.149Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f19d3cab491fea57c15e117d","title_ssm":["USF University Archives - USF Sarasota-Manatee"],"title_tesim":["USF University Archives - USF Sarasota-Manatee"],"ead_ssi":"f19d3cab491fea57c15e117d","unitdate_ssm":["1972-2016"],"unitdate_inclusive_ssm":["1972-2016"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2017-05","/repositories/2/resources/16"],"text":["MS-2017-05","/repositories/2/resources/16","USF University Archives - USF Sarasota-Manatee, 1972-2016","The collection was transferred for storage at the USF Libraries - Tampa campus in 2017.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","This collection includes papers and photographs from the University of South Florida Sarasota-Manatee campus. Items range from 1974 to 2016.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-2017-05","/repositories/2/resources/16"],"normalized_date_ssm":["1972-2016"],"normalized_title_ssm":["USF University Archives - USF Sarasota-Manatee, 1972-2016"],"collection_title_tesim":["USF University Archives - USF Sarasota-Manatee, 1972-2016"],"collection_ssim":["USF University Archives - USF Sarasota-Manatee, 1972-2016"],"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."],"has_online_content_ssim":["false"],"extent_ssm":["4.34 Linear Feet","12 boxes"],"extent_tesim":["4.34 Linear Feet","12 boxes"],"date_range_isim":[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],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred for storage at the USF Libraries - Tampa campus in 2017.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred for storage at the USF Libraries - Tampa campus in 2017."],"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_c501de8b1a31b9deb10addd5817bb5b7\"\u003eThis collection includes papers and photographs from the University of South Florida Sarasota-Manatee campus. Items range from 1974 to 2016.\u003c/abstract\u003e"],"abstract_tesim":["This collection includes papers and photographs from the University of South Florida Sarasota-Manatee campus. Items range from 1974 to 2016."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"total_component_count_is":210,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"f19d3cab491fea57c15e117d","timestamp":"2026-07-11T03:29:19.149Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/f19d3cab491fea57c15e117d_aspace_154711"}},{"id":"efb28b4294b35840dbdc1829_aspace_13724","type":"Box ","attributes":{"title":"Shadow Box","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/efb28b4294b35840dbdc1829_aspace_13724#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eShadow box labeled \"Fort White finds – Metal detecting and screening\", the contents of which are:\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/efb28b4294b35840dbdc1829_aspace_13724#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_13724","ref_ssm":["aspace_13724","aspace_13724"],"id":"efb28b4294b35840dbdc1829_aspace_13724","title_filing_ssi":"Shadow Box","title_ssm":["Shadow Box"],"title_tesim":["Shadow Box"],"normalized_title_ssm":["Shadow Box"],"text":["Shadow Box","Sue Bodishbaugh collection, 1946-2006, Date acquired: 08/29/2006, bulk 1977-1991","4","/repositories/2/archival_objects/124967","box 4","Shadow box labeled \"Fort White finds – Metal detecting and screening\", the contents of which are:","• 18 musket balls","• 5 metal nails","• 3 pottery shards","• 1 fragment of green glass","• 1 fragment of gray glass","• 1 fragment of a stone arrowhead","• Shadow box-\"Finds from Broken Wing Farm, Marion Co. FL\":","• 1 metal produce label for \"J. and G. Lippmann 203 165 79 NY\"","• 1 metal produce label for \"W.H. Blodgett Co. F2153 Boston\"","• 1 Indianhead penny","• 9 bullets and shells","• 1 wrapped bundle of labels – \"Picker 23\"","• 1 metal key","• 2 metal belt buckles","• 2 metal spoons","• 3 metal nails","• 2 small metal files","• 1 fragment pair of spectacles","• 1 metal cufflink or locket cover, with an engraving of the initials \"RLM\"","• 1 small clear glass bottle","• 1 child's marble","• 1 large shard of purple glass","• 1 stone arrowhead fragment","• 1 fragment of a ruler","• 1 button","• 1 fragment of a metal gear","• 1 small metal drawer pull"],"component_level_isim":[1],"parent_ids_ssim":["efb28b4294b35840dbdc1829"],"parent_unittitles_ssm":["Sue Bodishbaugh collection, 1946-2006, Date acquired: 08/29/2006, bulk 1977-1991"],"parent_unittitles_tesim":["Sue Bodishbaugh collection, 1946-2006, Date acquired: 08/29/2006, bulk 1977-1991"],"parent_levels_ssm":["collection"],"unitid_ssm":["4","/repositories/2/archival_objects/124967"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Sue Bodishbaugh collection, 1946-2006, Date acquired: 08/29/2006, bulk 1977-1991"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Box "],"level_ssim":["Box "],"sort_isi":32,"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 4"],"scopecontent_html_tesm":["\u003cp\u003eShadow box labeled \"Fort White finds \u0026#x2013; Metal detecting and screening\", the contents of which are:\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 18 musket balls\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 5 metal nails\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 3 pottery shards\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 fragment of green glass\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 fragment of gray glass\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 fragment of a stone arrowhead\u003c/p\u003e","\u003cp\u003e\u0026#x2022; Shadow box-\"Finds from Broken Wing Farm, Marion Co. FL\":\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 metal produce label for \"J. and G. Lippmann 203 165 79 NY\"\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 metal produce label for \"W.H. Blodgett Co. F2153 Boston\"\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 Indianhead penny\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 9 bullets and shells\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 wrapped bundle of labels \u0026#x2013; \"Picker 23\"\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 metal key\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 2 metal belt buckles\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 2 metal spoons\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 3 metal nails\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 2 small metal files\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 fragment pair of spectacles\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 metal cufflink or locket cover, with an engraving of the initials \"RLM\"\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 small clear glass bottle\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 child's marble\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 large shard of purple glass\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 stone arrowhead fragment\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 fragment of a ruler\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 button\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 fragment of a metal gear\u003c/p\u003e","\u003cp\u003e\u0026#x2022; 1 small metal drawer pull\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Shadow box labeled \"Fort White finds – Metal detecting and screening\", the contents of which are:","• 18 musket balls","• 5 metal nails","• 3 pottery shards","• 1 fragment of green glass","• 1 fragment of gray glass","• 1 fragment of a stone arrowhead","• Shadow box-\"Finds from Broken Wing Farm, Marion Co. FL\":","• 1 metal produce label for \"J. and G. Lippmann 203 165 79 NY\"","• 1 metal produce label for \"W.H. Blodgett Co. F2153 Boston\"","• 1 Indianhead penny","• 9 bullets and shells","• 1 wrapped bundle of labels – \"Picker 23\"","• 1 metal key","• 2 metal belt buckles","• 2 metal spoons","• 3 metal nails","• 2 small metal files","• 1 fragment pair of spectacles","• 1 metal cufflink or locket cover, with an engraving of the initials \"RLM\"","• 1 small clear glass bottle","• 1 child's marble","• 1 large shard of purple glass","• 1 stone arrowhead fragment","• 1 fragment of a ruler","• 1 button","• 1 fragment of a metal gear","• 1 small metal drawer pull"],"_nest_path_":"/components#3","_nest_parent_":"efb28b4294b35840dbdc1829","_root_":"efb28b4294b35840dbdc1829","timestamp":"2026-04-21T05:12:33.978Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"efb28b4294b35840dbdc1829","title_ssm":["Sue Bodishbaugh collection"],"title_tesim":["Sue Bodishbaugh collection"],"ead_ssi":"efb28b4294b35840dbdc1829","unitdate_ssm":["1946-2006","1977-1991","Date acquired: 08/29/2006"],"unitdate_bulk_ssim":["1977-1991"],"unitdate_inclusive_ssm":["1946-2006"],"unitdate_other_ssim":["Date acquired: 08/29/2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2006-05","/repositories/2/resources/538"],"text":["MS-2006-05","/repositories/2/resources/538","Sue Bodishbaugh collection, 1946-2006, Date acquired: 08/29/2006, bulk 1977-1991","Tampa (Fla.) -- History -- 20th century","Alachua County (Fla.)","Paleontology","Marion County (Fla.) - Genealogy","Chronological","04/14/2020 ready","Complete; A bibliography of newspaper clippings removed from the collection is included as part of the print finding aid.","This collection comprises press clippings, genealogical records, personal correspondence, and photographs. Press clippings reference Frank Garcia, a local amateur archaeologist. Autograph book on file contains the signatures of several well-known professional wrestlers from the 1950s, including Don Eagle, Don Kalt, Ray Stevens and Judy Glover. The genealogical records document several families from Marion County, Florida. Because of the voluminous and fragile nature of the bulk of the papers concerning Frank Garcia, a bibliography was created and many items were deaccessioned.","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","Bodishbaugh, Sue","English"],"unitid_tesim":["MS-2006-05","/repositories/2/resources/538"],"normalized_date_ssm":["1946-2006, Date acquired: 08/29/2006, bulk 1977-1991"],"normalized_title_ssm":["Sue Bodishbaugh collection, 1946-2006, Date acquired: 08/29/2006, bulk 1977-1991"],"collection_title_tesim":["Sue Bodishbaugh collection, 1946-2006, Date acquired: 08/29/2006, bulk 1977-1991"],"collection_ssim":["Sue Bodishbaugh collection, 1946-2006, Date acquired: 08/29/2006, bulk 1977-1991"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.) -- History -- 20th century","Alachua County (Fla.)"],"geogname_ssim":["Tampa (Fla.) -- History -- 20th century","Alachua County (Fla.)"],"creator_ssm":["Bodishbaugh, Sue"],"creator_ssim":["Bodishbaugh, Sue"],"creator_persname_ssim":["Bodishbaugh, Sue"],"creators_ssim":["Bodishbaugh, Sue"],"places_ssim":["Tampa (Fla.) -- History -- 20th century","Alachua County (Fla.)"],"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":["Sue Bodishbaugh","Donation"],"access_subjects_ssim":["Paleontology","Marion County (Fla.) - Genealogy"],"access_subjects_ssm":["Paleontology","Marion County (Fla.) - Genealogy"],"has_online_content_ssim":["false"],"extent_ssm":["2.02 Linear Feet","4  boxes"],"extent_tesim":["2.02 Linear Feet","4  boxes"],"date_range_isim":[1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006],"arrangement_html_tesm":["\u003cp\u003eChronological\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Chronological"],"prefercite_html_tesm":["\u003cp\u003eSue Bodishbaugh collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Sue Bodishbaugh collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003e04/14/2020 ready\u003c/p\u003e","\u003cp\u003eComplete; A bibliography of newspaper clippings removed from the collection is included as part of the print finding aid.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["04/14/2020 ready","Complete; A bibliography of newspaper clippings removed from the collection is included as part of the print finding aid."],"scopecontent_html_tesm":["\u003cp\u003eThis collection comprises press clippings, genealogical records, personal correspondence, and photographs. Press clippings reference Frank Garcia, a local amateur archaeologist. Autograph book on file contains the signatures of several well-known professional wrestlers from the 1950s, including Don Eagle, Don Kalt, Ray Stevens and Judy Glover. The genealogical records document several families from Marion County, Florida. Because of the voluminous and fragile nature of the bulk of the papers concerning Frank Garcia, a bibliography was created and many items were deaccessioned.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection comprises press clippings, genealogical records, personal correspondence, and photographs. Press clippings reference Frank Garcia, a local amateur archaeologist. Autograph book on file contains the signatures of several well-known professional wrestlers from the 1950s, including Don Eagle, Don Kalt, Ray Stevens and Judy Glover. The genealogical records document several families from Marion County, Florida. Because of the voluminous and fragile nature of the bulk of the papers concerning Frank Garcia, a bibliography was created and many items were deaccessioned."],"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","Bodishbaugh, Sue"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Bodishbaugh, Sue"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":32,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"efb28b4294b35840dbdc1829","timestamp":"2026-04-21T05:12:33.978Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/efb28b4294b35840dbdc1829_aspace_13724"}},{"id":"18ce43a3c782b797db9fa781_aspace_107998","type":"Box ","attributes":{"title":"Slides 457-494","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_107998#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_107998","ref_ssm":["aspace_107998","aspace_107998"],"id":"18ce43a3c782b797db9fa781_aspace_107998","title_filing_ssi":"Slides 457-494","title_ssm":["Slides 457-494"],"title_tesim":["Slides 457-494"],"normalized_title_ssm":["Slides 457-494"],"text":["Slides 457-494","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","13","/repositories/2/archival_objects/81324","box 13"],"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":["13","/repositories/2/archival_objects/81324"],"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":38,"level_ssm":["Box "],"level_ssim":["Box "],"sort_isi":468,"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 13"],"_nest_path_":"/components#12","_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_107998"}},{"id":"18ce43a3c782b797db9fa781_aspace_179822","type":"Box ","attributes":{"title":"Slides - Misc. Photographs, Houses","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179822#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179822","ref_ssm":["aspace_179822","aspace_179822"],"id":"18ce43a3c782b797db9fa781_aspace_179822","title_filing_ssi":"Slides - Misc. Photographs, Houses ","title_ssm":["Slides - Misc. Photographs, Houses "],"title_tesim":["Slides - Misc. Photographs, Houses "],"normalized_title_ssm":["Slides - Misc. Photographs, Houses"],"text":["Slides - Misc. Photographs, Houses","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","20","/repositories/2/archival_objects/81478","box 20"],"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":["20","/repositories/2/archival_objects/81478"],"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":834,"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 20"],"_nest_path_":"/components#19","_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_179822"}},{"id":"6370922c1750cef4ef1d223f_aspace_0e8f8c371695bbeaf550382e23546a8a","type":"Box ","attributes":{"title":"Unprocessed Slides","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/6370922c1750cef4ef1d223f_aspace_0e8f8c371695bbeaf550382e23546a8a#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_0e8f8c371695bbeaf550382e23546a8a","ref_ssm":["aspace_0e8f8c371695bbeaf550382e23546a8a","aspace_0e8f8c371695bbeaf550382e23546a8a"],"id":"6370922c1750cef4ef1d223f_aspace_0e8f8c371695bbeaf550382e23546a8a","title_filing_ssi":"Unprocessed Slides","title_ssm":["Unprocessed Slides"],"title_tesim":["Unprocessed Slides"],"normalized_title_ssm":["Unprocessed Slides"],"text":["Unprocessed Slides","USF Photograph collection, 1958-1999","/repositories/2/archival_objects/141661","box 79"],"component_level_isim":[1],"parent_ids_ssim":["6370922c1750cef4ef1d223f"],"parent_unittitles_ssm":["USF Photograph collection, 1958-1999"],"parent_unittitles_tesim":["USF Photograph collection, 1958-1999"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/2/archival_objects/141661"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["USF Photograph collection, 1958-1999"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Box "],"level_ssim":["Box "],"sort_isi":3971,"parent_access_restrict_tesm":["None."],"parent_access_terms_tesm":["The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"containers_ssim":["box 79"],"_nest_path_":"/components#80","_nest_parent_":"6370922c1750cef4ef1d223f","_root_":"6370922c1750cef4ef1d223f","_version_":1870863222152626176,"timestamp":"2026-07-16T09:30:04.366Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"6370922c1750cef4ef1d223f","title_ssm":["USF Photograph collection"],"title_tesim":["USF Photograph collection"],"ead_ssi":"6370922c1750cef4ef1d223f","unitdate_ssm":["1958-1999"],"unitdate_inclusive_ssm":["1958-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1958-01","/repositories/2/resources/407"],"text":["MS-1958-01","/repositories/2/resources/407","USF Photograph collection, 1958-1999","Photographs","Photography","College students -- Florida -- Photographs","None.","Alphabetical by last name and name of event.","The University of South Florida was founded in 1956 as the first public university established specifically to address the needs of Florida's rapidly emerging urban regions. Today, the University of South Florida System is comprised of two separately accredited institutions, USF and USF St. Petersburg. USF consists of the main research campus in Tampa, which includes USF Health, and two regional campuses: USF Sarasota-Manatee and USF Polytechnic in Lakeland.","At the University of South Florida, federal funds for academic research and development increased 213 percent from 2000 to 2007.  According to the Chronicle of Higher Education, that makes USF the fastest growing research university in the United States. In the academic year 2008-09, USF reached a new high with $380.4 million in research grants and contracts.","As of 2010, USF serves more than 39,000 students and offers 228 degree programs at the undergraduate, graduate, specialist and doctoral levels, including the doctor of medicine, through its 11 colleges. USF is a member of the Big East Athletic Conference.","Ongoing","University Archives,  Special Collections, Department, Tampa Library, University of South Florida, Tampa, Florida.","USF Oracle","Inside USF","The University of South Florida (USF) Photograph Collection brings together photographs from two USF publications - Inside USF (the official magazine) and the Oracle (the student newspaper) - and a general collection of USF photographs.  By combining these collections, Special Collections has attempted to facilitate access, retrieval and use of USF photographs. This guide primarily serves as in index and provides a container listing and additional collection notes that indicate how some photographs have been categorized.","The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.","USF Libraries - Tampa Special Collections","University of South Florida ","English"],"unitid_tesim":["MS-1958-01","/repositories/2/resources/407"],"normalized_date_ssm":["1958-1999"],"normalized_title_ssm":["USF Photograph collection, 1958-1999"],"collection_title_tesim":["USF Photograph collection, 1958-1999"],"collection_ssim":["USF Photograph collection, 1958-1999"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["University of South Florida "],"creator_ssim":["University of South Florida "],"creator_corpname_ssim":["University of South Florida "],"creators_ssim":["University of South Florida "],"access_terms_ssm":["The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"access_subjects_ssim":["Photographs","Photography","College students -- Florida -- Photographs"],"access_subjects_ssm":["Photographs","Photography","College students -- Florida -- Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["35.05 Linear Feet","83 boxes"],"extent_tesim":["35.05 Linear Feet","83 boxes"],"date_range_isim":[1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["None."],"arrangement_html_tesm":["\u003cp\u003eAlphabetical by last name and name of event.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Alphabetical by last name and name of event."],"bioghist_html_tesm":["\u003cp\u003eThe University of South Florida was founded in 1956 as the first public university established specifically to address the needs of Florida's rapidly emerging urban regions. Today, the University of South Florida System is comprised of two separately accredited institutions, USF and USF St. Petersburg. USF consists of the main research campus in Tampa, which includes USF Health, and two regional campuses: USF Sarasota-Manatee and USF Polytechnic in Lakeland.\u003c/p\u003e\n","\u003cp\u003eAt the University of South Florida, federal funds for academic research and development increased 213 percent from 2000 to 2007.\u0026#xA0; According to the Chronicle of Higher Education, that makes USF the fastest growing research university in the United States. In the academic year 2008-09, USF reached a new high with $380.4 million in research grants and contracts.\u003c/p\u003e\n","\u003cp\u003eAs of 2010, USF serves more than 39,000 students and offers 228 degree programs at the undergraduate, graduate, specialist and doctoral levels, including the doctor of medicine, through its 11 colleges. 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In the academic year 2008-09, USF reached a new high with $380.4 million in research grants and contracts.","As of 2010, USF serves more than 39,000 students and offers 228 degree programs at the undergraduate, graduate, specialist and doctoral levels, including the doctor of medicine, through its 11 colleges. USF is a member of the Big East Athletic Conference."],"prefercite_html_tesm":["\u003cp\u003eUSF photograph collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["USF photograph collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eOngoing\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Ongoing"],"relatedmaterial_html_tesm":["\u003cp\u003eUniversity Archives,\u0026#xA0; Special Collections, Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e","\u003cp\u003eUSF Oracle\u003c/p\u003e\n","\u003cp\u003eInside USF\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Publications"],"relatedmaterial_tesim":["University Archives,  Special Collections, Department, Tampa Library, University of South Florida, Tampa, Florida.","USF Oracle","Inside USF"],"scopecontent_html_tesm":["\u003cp\u003eThe University of South Florida (USF) Photograph Collection brings together photographs from two USF publications - Inside USF (the official magazine) and the Oracle (the student newspaper) - and a general collection of USF photographs.\u0026#xA0; By combining these collections, Special Collections has attempted to facilitate access, retrieval and use of USF photographs. This guide primarily serves as in index and provides a container listing and additional collection notes that indicate how some photographs have been categorized.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The University of South Florida (USF) Photograph Collection brings together photographs from two USF publications - Inside USF (the official magazine) and the Oracle (the student newspaper) - and a general collection of USF photographs.  By combining these collections, Special Collections has attempted to facilitate access, retrieval and use of USF photographs. This guide primarily serves as in index and provides a container listing and additional collection notes that indicate how some photographs have been categorized."],"userestrict_html_tesm":["\u003cp\u003eThe contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"names_coll_ssim":["University of South Florida "],"names_ssim":["USF Libraries - Tampa Special Collections","University of South Florida "],"corpname_ssim":["USF Libraries - Tampa Special Collections","University of South Florida "],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3974,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870863222152626176,"_root_":"6370922c1750cef4ef1d223f","timestamp":"2026-07-16T09:30:04.366Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/6370922c1750cef4ef1d223f_aspace_0e8f8c371695bbeaf550382e23546a8a"}},{"id":"bfd41a7c19618933042e1aeb_aspace_ee30d066a8c9f798d31bfe2909256493","type":"Box ","attributes":{"title":"Video Cassettes II","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/bfd41a7c19618933042e1aeb_aspace_ee30d066a8c9f798d31bfe2909256493#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_ee30d066a8c9f798d31bfe2909256493","ref_ssm":["aspace_ee30d066a8c9f798d31bfe2909256493","aspace_ee30d066a8c9f798d31bfe2909256493"],"id":"bfd41a7c19618933042e1aeb_aspace_ee30d066a8c9f798d31bfe2909256493","title_filing_ssi":"Video Cassettes II","title_ssm":["Video Cassettes II"],"title_tesim":["Video Cassettes II"],"normalized_title_ssm":["Video Cassettes II"],"text":["Video Cassettes II","Rex Maniscalco collection, 1980-2002, bulk 1990-2002","/repositories/2/archival_objects/147485","box 17"],"component_level_isim":[1],"parent_ids_ssim":["bfd41a7c19618933042e1aeb"],"parent_unittitles_ssm":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002"],"parent_unittitles_tesim":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/2/archival_objects/147485"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002"],"has_online_content_ssim":["false"],"child_component_count_isi":14,"level_ssm":["Box "],"level_ssim":["Box "],"sort_isi":386,"parent_access_terms_tesm":["No restrictions.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"containers_ssim":["box 17"],"_nest_path_":"/components#16","_nest_parent_":"bfd41a7c19618933042e1aeb","_root_":"bfd41a7c19618933042e1aeb","_version_":1871677752741986304,"timestamp":"2026-07-25T09:16:41.370Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"bfd41a7c19618933042e1aeb","title_ssm":["Rex Maniscalco collection"],"title_tesim":["Rex Maniscalco collection"],"ead_ssi":"bfd41a7c19618933042e1aeb","unitdate_ssm":["1980-2002","1990-2002"],"unitdate_bulk_ssim":["1990-2002"],"unitdate_inclusive_ssm":["1980-2002"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2009-02","/repositories/2/resources/324"],"text":["MS-2009-02","/repositories/2/resources/324","Rex Maniscalco collection, 1980-2002, bulk 1990-2002","LGBTQ+ film festivals","Gay and lesbian dance parties","LGBTQ+ movement","Gay community","Queer community ","Queer culture","LGBTQ+ activists","LGBTQ+ advocacy","LGBTQ+ communities","Series by format and subseries by subject (events, social life and customs, organizations). This collection is organized into three series with subsequent and corresponding subseries. Contained within this collection were film negatives not accompanied by developed images. These negatives remain unprocessed. Negatives that were included in envelopes alongside developed images were processed in tandem with photographs and housed in two Hollinger boxes as a series. Within  Series: Negatives , folders correspond with the images processed into subseries within photo boxes, more specifically, events, social life and customs, organizations. Additionally, Rex's personal photographs, which include travel, family, and other miscellaneous events such as the Renaissance Festival, the filming of a Burt Reynolds movie in Tampa, and Yankee training, remain unprocessed but available in photo albums.","Most remembered for saying, \"Ah one-a, ah two-a, ah-Cheeze-a\", Rex Maniscalco was Tampa's GLBT photographer and community documentarian. An Ybor City native, Rex Maniscalco was around to experience and participate in the emergence of a visible LGBT community in the Tampa area. From the early Pride picnics and festivals to the beginnings of Equality Florida, Rex was there, camera in hand, to document the people who have been instrumental in creating LGBT community and culture. Inspired by a traveling exhibition of the history of the LGBT movement, Rex undertook the task of capturing gay history in the making through his camera and video recordings. Moved by the stories of hidden lives told by Bobbie Smith and Kay Thompson, he began the Rainbow in Sunshine Project in January of 2007 to offer a photographic history of gay lives and activism in Tampa, Florida. He was a part of the GLBT \u0026 Hillsborough Democratic Executive Community and active in the Hillsborough County GLBTA Democratic caucus. Rex Maniscalco passed away April 4, 2009 at the age of 57","Note written by CW, 2015.","Partially processed.","Bobby Smith Photograph Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, Florida.","This collection contains photographs, negatives, and VHS recordings pertaining to Tampa GLBT culture and community and reflects the growing national visibility of gay and lesbian lives throughout the 1990s and early 2000s more generally. This collection is comprised of photographs of the LGBT community taken by Rex Maniscalco from the 1980s to 2000s. Captured in the images within this collection are Tampa Bay's early Pride picnics to full scale Pride Festivals in downtown Tampa and Ybor City, the Tampa Gay and Lesbian Film Festival, the Tampa AIDS walk, other major gay events such as Southern Decadence in New Orleans, LA and Beach Fest in Daytona, protests and rallies, and many other social gatherings and political events. This collection also contains video recordings of major political events and organizations in Tampa including County Commission and City Council vote to include sexual orientation in the city's human rights ordinance in 1991, the 1993 March on Washington, organizational meetings of the Human Rights Task Force. Maniscalco's collection also includes video recordings of local and national talk shows and television shows.","Oversized graphic materials stored in a horizontal folder separate from the collection.","No restrictions.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.","This collection is comprised of photographs and video footage of the LGBTQ+ community taken by Rex Maniscalco from the 1980s to 2000s, as well as documents from Tampa Bay LGBTQ+ culture, civil rights, and community organizations.","USF Libraries - Tampa Special Collections","Human Rights Task Force","Equality Florida","Metropolitan Community Church of Tampa","Maniscalco, Rex (1956-2009)","English"],"unitid_tesim":["MS-2009-02","/repositories/2/resources/324"],"normalized_date_ssm":["1980-2002, bulk 1990-2002"],"normalized_title_ssm":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002"],"collection_title_tesim":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002"],"collection_ssim":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Maniscalco, Rex (1956-2009)"],"creator_ssim":["Maniscalco, Rex (1956-2009)"],"creator_persname_ssim":["Maniscalco, Rex (1956-2009)"],"creators_ssim":["Maniscalco, Rex (1956-2009)"],"access_terms_ssm":["No restrictions.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"acqinfo_ssim":["Mark Bias and Carrie West","Donation."],"access_subjects_ssim":["LGBTQ+ film festivals","Gay and lesbian dance parties","LGBTQ+ movement","Gay community","Queer community ","Queer culture","LGBTQ+ activists","LGBTQ+ advocacy","LGBTQ+ communities"],"access_subjects_ssm":["LGBTQ+ film festivals","Gay and lesbian dance parties","LGBTQ+ movement","Gay community","Queer community ","Queer culture","LGBTQ+ activists","LGBTQ+ advocacy","LGBTQ+ communities"],"has_online_content_ssim":["false"],"extent_ssm":["21 boxes","14.43 Linear Feet","1 folders Oversized graphic materials stored in a horizontal folder separate from the collection."],"extent_tesim":["21 boxes","14.43 Linear Feet","1 folders Oversized graphic materials stored in a horizontal folder separate from the collection."],"date_range_isim":[1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002],"arrangement_html_tesm":["\u003cp\u003eSeries by format and subseries by subject (events, social life and customs, organizations). 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Rex Maniscalco passed away April 4, 2009 at the age of 57","Note written by CW, 2015."],"processinfo_html_tesm":["\u003cp\u003ePartially processed.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Partially processed."],"relatedmaterial_html_tesm":["\u003cp\u003eBobby Smith Photograph Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, Florida.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Bobby Smith Photograph Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains photographs, negatives, and VHS recordings pertaining to Tampa GLBT culture and community and reflects the growing national visibility of gay and lesbian lives throughout the 1990s and early 2000s more generally. 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This collection also contains video recordings of major political events and organizations in Tampa including County Commission and City Council vote to include sexual orientation in the city's human rights ordinance in 1991, the 1993 March on Washington, organizational meetings of the Human Rights Task Force. 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