{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026view=list","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19081\u0026view=list","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19083\u0026view=list","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19300\u0026view=list"},"meta":{"pages":{"current_page":19082,"next_page":19083,"prev_page":19081,"total_pages":19300,"limit_value":10,"offset_value":190810,"total_count":192992,"first_page?":false,"last_page?":false}},"data":[{"id":"6a8ca297c8d957a918dee02d_aspace_385a1e191f3ed1a0ecfc5f686a06f281","type":"Item","attributes":{"title":"Women of Europe no.45, 1997-05-1997-07","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/6a8ca297c8d957a918dee02d_aspace_385a1e191f3ed1a0ecfc5f686a06f281#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_385a1e191f3ed1a0ecfc5f686a06f281","ref_ssm":["aspace_385a1e191f3ed1a0ecfc5f686a06f281","aspace_385a1e191f3ed1a0ecfc5f686a06f281"],"id":"6a8ca297c8d957a918dee02d_aspace_385a1e191f3ed1a0ecfc5f686a06f281","title_filing_ssi":"Women of Europe no.45 ","title_ssm":["Women of Europe no.45 "],"title_tesim":["Women of Europe no.45 "],"unitdate_inclusive_ssm":["1997-05-1997-07"],"normalized_date_ssm":["1997-05-1997-07"],"normalized_title_ssm":["Women of Europe no.45, 1997-05-1997-07"],"text":["Women of Europe no.45, 1997-05-1997-07","Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Periodicals - Tr-Wo","Women of Europe, 1996-1997","/repositories/2/archival_objects/167835","box 22","folder 14","object 2"],"component_level_isim":[3],"parent_ids_ssim":["6a8ca297c8d957a918dee02d","6a8ca297c8d957a918dee02d_aspace_126484","6a8ca297c8d957a918dee02d_aspace_126515"],"parent_unittitles_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Periodicals - Tr-Wo","Women of Europe, 1996-1997"],"parent_unittitles_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Periodicals - Tr-Wo","Women of Europe, 1996-1997"],"parent_levels_ssm":["collection","Box","File"],"unitid_ssm":["/repositories/2/archival_objects/167835"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1193,"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":[1997],"containers_ssim":["box 22","folder 14","object 2"],"_nest_path_":"/components#21/components#13/components#1","_nest_parent_":"6a8ca297c8d957a918dee02d_aspace_126515","_root_":"6a8ca297c8d957a918dee02d","_version_":1871496586827137024,"timestamp":"2026-07-23T09:17:07.992Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"6a8ca297c8d957a918dee02d","title_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection"],"title_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection"],"ead_ssi":"6a8ca297c8d957a918dee02d","unitdate_ssm":["1973-2014","1990-1998","Date acquired: 2006"],"unitdate_bulk_ssim":["1990-1998"],"unitdate_inclusive_ssm":["1973-2014"],"unitdate_other_ssim":["Date acquired: 2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2006-08","/repositories/2/resources/442"],"text":["MS-2006-08","/repositories/2/resources/442","Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Tampa (Fla.)","Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies","Organized alphabetically within series and subjects.","In 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication  Womyn's Words . As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.","Learn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.","Note written by CBW. Edited by CC, 2026.","Materials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.  Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence.","Womyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","The papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter  Womyn's Words .","USF Libraries - Tampa Special Collections","Daly, Edith (1937-)","English Croatian"],"unitid_tesim":["MS-2006-08","/repositories/2/resources/442"],"normalized_date_ssm":["1973-2014, Date acquired: 2006, bulk 1990-1998"],"normalized_title_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"collection_title_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"collection_ssim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.)"],"geogname_ssim":["Tampa (Fla.)"],"creator_ssm":["Daly, Edith (1937-)"],"creator_ssim":["Daly, Edith (1937-)"],"creator_persname_ssim":["Daly, Edith (1937-)"],"creators_ssim":["Daly, Edith (1937-)"],"places_ssim":["Tampa (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":["Edith Daly","Donation"],"access_subjects_ssim":["Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies"],"access_subjects_ssm":["Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies"],"has_online_content_ssim":["false"],"extent_ssm":["17 Linear Feet","27 boxes"],"extent_tesim":["17 Linear Feet","27 boxes"],"date_range_isim":[1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021],"arrangement_html_tesm":["\u003cp\u003eOrganized alphabetically within series and subjects.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Organized alphabetically within series and subjects."],"bioghist_html_tesm":["\u003cp\u003eIn 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication \u003cemph render=\"italic\"\u003eWomyn's Words\u003c/emph\u003e. As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.\u003c/p\u003e\n","\u003cp\u003eLearn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.\u003c/p\u003e\n","\u003cp\u003eNote written by CBW. Edited by CC, 2026.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication  Womyn's Words . As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.","Learn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.","Note written by CBW. Edited by CC, 2026."],"prefercite_html_tesm":["\u003cp\u003eEdith Daly / Women's Energy Bank collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Edith Daly / Women's Energy Bank collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.\u0026#xA0; Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.  Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence."],"separatedmaterial_html_tesm":["\u003cp\u003eWomyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Womyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)"],"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_035d6fc98144dc90e3c384ced17a9893\"\u003eThe papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter \u003cemph render=\"italic\"\u003eWomyn's Words\u003c/emph\u003e.\u003c/abstract\u003e"],"abstract_tesim":["The papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter  Womyn's Words ."],"names_ssim":["USF Libraries - Tampa Special Collections","Daly, Edith (1937-)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Daly, Edith (1937-)"],"language_ssim":["English Croatian"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1323,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1871496586827137024,"_root_":"6a8ca297c8d957a918dee02d","timestamp":"2026-07-23T09:17:07.992Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/6a8ca297c8d957a918dee02d_aspace_385a1e191f3ed1a0ecfc5f686a06f281"}},{"id":"6a8ca297c8d957a918dee02d_aspace_126518","type":"Item","attributes":{"title":"Women of Europe Supplements no.40 : Women \u0026 Language, 1993-08","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/6a8ca297c8d957a918dee02d_aspace_126518#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_126518","ref_ssm":["aspace_126518","aspace_126518"],"id":"6a8ca297c8d957a918dee02d_aspace_126518","title_filing_ssi":"Women of Europe Supplements no.40 : Women \u0026 Language","title_ssm":["Women of Europe Supplements no.40 : Women \u0026 Language"],"title_tesim":["Women of Europe Supplements no.40 : Women \u0026 Language"],"unitdate_other_ssim":["1993-08"],"normalized_date_ssm":["1993-08"],"normalized_title_ssm":["Women of Europe Supplements no.40 : Women \u0026 Language, 1993-08"],"text":["Women of Europe Supplements no.40 : Women \u0026 Language, 1993-08","Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Periodicals - Tr-Wo","Women of Europe Supplements, 1993","Item 1","/repositories/2/archival_objects/98618","box 22","folder 15","object 1"],"component_level_isim":[3],"parent_ids_ssim":["6a8ca297c8d957a918dee02d","6a8ca297c8d957a918dee02d_aspace_126484","6a8ca297c8d957a918dee02d_aspace_126517"],"parent_unittitles_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Periodicals - Tr-Wo","Women of Europe Supplements, 1993"],"parent_unittitles_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Periodicals - Tr-Wo","Women of Europe Supplements, 1993"],"parent_levels_ssm":["collection","Box","File"],"unitid_ssm":["Item 1","/repositories/2/archival_objects/98618"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1195,"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":[1993],"containers_ssim":["box 22","folder 15","object 1"],"_nest_path_":"/components#21/components#14/components#0","_nest_parent_":"6a8ca297c8d957a918dee02d_aspace_126517","_root_":"6a8ca297c8d957a918dee02d","_version_":1871496586827137024,"timestamp":"2026-07-23T09:17:07.992Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"6a8ca297c8d957a918dee02d","title_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection"],"title_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection"],"ead_ssi":"6a8ca297c8d957a918dee02d","unitdate_ssm":["1973-2014","1990-1998","Date acquired: 2006"],"unitdate_bulk_ssim":["1990-1998"],"unitdate_inclusive_ssm":["1973-2014"],"unitdate_other_ssim":["Date acquired: 2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2006-08","/repositories/2/resources/442"],"text":["MS-2006-08","/repositories/2/resources/442","Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Tampa (Fla.)","Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies","Organized alphabetically within series and subjects.","In 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication  Womyn's Words . As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.","Learn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.","Note written by CBW. Edited by CC, 2026.","Materials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.  Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence.","Womyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","The papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter  Womyn's Words .","USF Libraries - Tampa Special Collections","Daly, Edith (1937-)","English Croatian"],"unitid_tesim":["MS-2006-08","/repositories/2/resources/442"],"normalized_date_ssm":["1973-2014, Date acquired: 2006, bulk 1990-1998"],"normalized_title_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"collection_title_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"collection_ssim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.)"],"geogname_ssim":["Tampa (Fla.)"],"creator_ssm":["Daly, Edith (1937-)"],"creator_ssim":["Daly, Edith (1937-)"],"creator_persname_ssim":["Daly, Edith (1937-)"],"creators_ssim":["Daly, Edith (1937-)"],"places_ssim":["Tampa (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":["Edith Daly","Donation"],"access_subjects_ssim":["Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies"],"access_subjects_ssm":["Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies"],"has_online_content_ssim":["false"],"extent_ssm":["17 Linear Feet","27 boxes"],"extent_tesim":["17 Linear Feet","27 boxes"],"date_range_isim":[1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021],"arrangement_html_tesm":["\u003cp\u003eOrganized alphabetically within series and subjects.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Organized alphabetically within series and subjects."],"bioghist_html_tesm":["\u003cp\u003eIn 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication \u003cemph render=\"italic\"\u003eWomyn's Words\u003c/emph\u003e. As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.\u003c/p\u003e\n","\u003cp\u003eLearn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.\u003c/p\u003e\n","\u003cp\u003eNote written by CBW. Edited by CC, 2026.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication  Womyn's Words . As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.","Learn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.","Note written by CBW. Edited by CC, 2026."],"prefercite_html_tesm":["\u003cp\u003eEdith Daly / Women's Energy Bank collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Edith Daly / Women's Energy Bank collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.\u0026#xA0; Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.  Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence."],"separatedmaterial_html_tesm":["\u003cp\u003eWomyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Womyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)"],"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_035d6fc98144dc90e3c384ced17a9893\"\u003eThe papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter \u003cemph render=\"italic\"\u003eWomyn's Words\u003c/emph\u003e.\u003c/abstract\u003e"],"abstract_tesim":["The papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter  Womyn's Words ."],"names_ssim":["USF Libraries - Tampa Special Collections","Daly, Edith (1937-)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Daly, Edith (1937-)"],"language_ssim":["English Croatian"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1323,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1871496586827137024,"_root_":"6a8ca297c8d957a918dee02d","timestamp":"2026-07-23T09:17:07.992Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/6a8ca297c8d957a918dee02d_aspace_126518"}},{"id":"c56aab442b34ccc24cb98200_aspace_219047","type":"Item","attributes":{"title":"Women of Manhattan [theatre program]., 1988","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/c56aab442b34ccc24cb98200_aspace_219047#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eTitle devised by library staff.|Cast: Anne Dauber, Mary Mansfield, J. Michael Ross|Director: Claudia A. Weitsman|The Progressive Stage Company\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/c56aab442b34ccc24cb98200_aspace_219047#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_219047","ref_ssm":["aspace_219047","aspace_219047"],"id":"c56aab442b34ccc24cb98200_aspace_219047","title_filing_ssi":"Women of Manhattan [theatre program].","title_ssm":["Women of Manhattan [theatre program]."],"title_tesim":["Women of Manhattan [theatre program]."],"unitdate_other_ssim":["1988"],"normalized_date_ssm":["1988"],"normalized_title_ssm":["Women of Manhattan [theatre program]., 1988"],"text":["Women of Manhattan [theatre program]., 1988","Degen Playbill Collection, 1895-2023","Item 26","/repositories/8/archival_objects/28915","box 1988 VOL 5","Title devised by library staff.|Cast: Anne Dauber, Mary Mansfield, J. Michael Ross|Director: Claudia A. Weitsman|The Progressive Stage Company"],"component_level_isim":[1],"parent_ids_ssim":["c56aab442b34ccc24cb98200"],"parent_unittitles_ssm":["Degen Playbill Collection, 1895-2023"],"parent_unittitles_tesim":["Degen Playbill Collection, 1895-2023"],"parent_levels_ssm":["collection"],"unitid_ssm":["Item 26","/repositories/8/archival_objects/28915"],"repository_ssim":["The John A. Degen Resource Room at FSU"],"collection_ssim":["Degen Playbill Collection, 1895-2023"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":5856,"parent_access_restrict_tesm":["The John A. Degen Resource Room collection is only open to Florida State University School of Theatre Faculty, Staff and Students."],"containers_ssim":["box 1988 VOL 5"],"scopecontent_html_tesm":["\u003cp\u003eTitle devised by library staff.|Cast: Anne Dauber, Mary Mansfield, J. Michael Ross|Director: Claudia A. Weitsman|The Progressive Stage Company\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Title devised by library staff.|Cast: Anne Dauber, Mary Mansfield, J. Michael Ross|Director: Claudia A. Weitsman|The Progressive Stage Company"],"_nest_path_":"/components#5855","_nest_parent_":"c56aab442b34ccc24cb98200","_root_":"c56aab442b34ccc24cb98200","timestamp":"2026-07-11T02:37:06.587Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"c56aab442b34ccc24cb98200","title_ssm":["Degen Playbill Collection"],"title_tesim":["Degen Playbill Collection"],"ead_ssi":"c56aab442b34ccc24cb98200","unitdate_ssm":["1895-2023"],"unitdate_inclusive_ssm":["1895-2023"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["05.DEGEN001","/repositories/8/resources/106"],"text":["05.DEGEN001","/repositories/8/resources/106","Degen Playbill Collection, 1895-2023","Theater--History.","Theater.","Plays.","The John A. Degen Resource Room collection is only open to Florida State University School of Theatre Faculty, Staff and Students.","The Degen Resource Room has an extensive historic playbill collection. The collection consists of playbills of productions from all over the world beginning in 1873. The Degen Resource Room is continuing to catalog this massive collection, so the entire scope of this collection cannot yet be assessed. However, it is estimated that we hold one of the premiere playbill collections in the nation. As cataloging continues to take place, we will be able to ascertain the extent of this very special and unique collection.","The John A. Degen Resource Room at FSU","English"],"unitid_tesim":["05.DEGEN001","/repositories/8/resources/106"],"normalized_date_ssm":["1895-2023"],"normalized_title_ssm":["Degen Playbill Collection, 1895-2023"],"collection_title_tesim":["Degen Playbill Collection, 1895-2023"],"collection_ssim":["Degen Playbill Collection, 1895-2023"],"repository_ssm":["The John A. Degen Resource Room at FSU"],"repository_ssim":["The John A. Degen Resource Room at FSU"],"acqinfo_ssim":["Estate of John A. Degen.","The Degen Library and its collections were created from a donation from the estate of John A. Degen when he passed."],"access_subjects_ssim":["Theater--History.","Theater.","Plays."],"access_subjects_ssm":["Theater--History.","Theater.","Plays."],"has_online_content_ssim":["false"],"extent_ssm":["278 binders"],"extent_tesim":["278 binders"],"genreform_ssim":["Plays."],"date_range_isim":[1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023],"accessrestrict_html_tesm":["\u003cp\u003eThe John A. Degen Resource Room collection is only open to Florida State University School of Theatre Faculty, Staff and Students.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The John A. Degen Resource Room collection is only open to Florida State University School of Theatre Faculty, Staff and Students."],"prefercite_html_tesm":["\u003cp\u003e[Title of work], [Date of work], Degen Playbill Collection, School of Theatre, Florida State University, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/DEGEN001\"\u003ehttp://purl.fcla.edu/fsu/DEGEN001\u003c/extref\u003e.\u003c/p\u003e"],"prefercite_tesim":["[Title of work], [Date of work], Degen Playbill Collection, School of Theatre, Florida State University, Tallahassee, Florida.  http://purl.fcla.edu/fsu/DEGEN001 ."],"scopecontent_html_tesm":["\u003cp\u003eThe Degen Resource Room has an extensive historic playbill collection. The collection consists of playbills of productions from all over the world beginning in 1873. The Degen Resource Room is continuing to catalog this massive collection, so the entire scope of this collection cannot yet be assessed. However, it is estimated that we hold one of the premiere playbill collections in the nation. As cataloging continues to take place, we will be able to ascertain the extent of this very special and unique collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Degen Resource Room has an extensive historic playbill collection. The collection consists of playbills of productions from all over the world beginning in 1873. The Degen Resource Room is continuing to catalog this massive collection, so the entire scope of this collection cannot yet be assessed. However, it is estimated that we hold one of the premiere playbill collections in the nation. As cataloging continues to take place, we will be able to ascertain the extent of this very special and unique collection."],"names_ssim":["The John A. Degen Resource Room at FSU"],"corpname_ssim":["The John A. Degen Resource Room at FSU"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":7503,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"c56aab442b34ccc24cb98200","timestamp":"2026-07-11T02:37:06.587Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/c56aab442b34ccc24cb98200_aspace_219047"}},{"id":"4855640db2bdcc05397fe76f_aspace_160775","type":"Item","attributes":{"title":"Women of Power: A Magazine of Feminism, Spirituality, and Politics","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/4855640db2bdcc05397fe76f_aspace_160775#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_160775","ref_ssm":["aspace_160775","aspace_160775"],"id":"4855640db2bdcc05397fe76f_aspace_160775","title_filing_ssi":"Women of Power: A Magazine of Feminism, Spirituality, and Politics","title_ssm":["Women of Power: A Magazine of Feminism, Spirituality, and Politics"],"title_tesim":["Women of Power: A Magazine of Feminism, Spirituality, and Politics"],"normalized_title_ssm":["Women of Power: A Magazine of Feminism, Spirituality, and Politics"],"text":["Women of Power: A Magazine of Feminism, Spirituality, and Politics","Susan Gore collection, Date acquired: 00/00/2016","Cataloged Materials","/repositories/2/archival_objects/11554","object QLIT HQ1101 .W386","Go To Catalog Record","Includes: no.15 (1990:fall/winter)"],"component_level_isim":[2],"parent_ids_ssim":["4855640db2bdcc05397fe76f","4855640db2bdcc05397fe76f_aspace_160747"],"parent_unittitles_ssm":["Susan Gore collection, Date acquired: 00/00/2016","Cataloged Materials"],"parent_unittitles_tesim":["Susan Gore collection, Date acquired: 00/00/2016","Cataloged Materials"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/11554"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Susan Gore collection, Date acquired: 00/00/2016"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":228,"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":["object QLIT HQ1101 .W386"],"bibliography_html_tesm":["\u003cp\u003e\n\u003ca href=\"https://usf-flvc.primo.exlibrisgroup.com/permalink/01FALSC_USF/1amem1q/alma99379600780606599\"\u003eGo To Catalog Record\u003c/a\u003e\n\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Go To Catalog Record"],"odd_html_tesm":["\u003cp\u003eIncludes: no.15 (1990:fall/winter)\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["Includes: no.15 (1990:fall/winter)"],"_nest_path_":"/components#8/components#11","_nest_parent_":"4855640db2bdcc05397fe76f_aspace_160747","_root_":"4855640db2bdcc05397fe76f","_version_":1871405942681108480,"timestamp":"2026-07-22T09:16:23.101Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"4855640db2bdcc05397fe76f","title_ssm":["Susan Gore collection"],"title_tesim":["Susan Gore collection"],"ead_ssi":"4855640db2bdcc05397fe76f","unitdate_ssm":["Date acquired: 00/00/2016"],"unitdate_other_ssim":["Date acquired: 00/00/2016"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2016-05","/repositories/2/resources/71"],"text":["MS-2016-05","/repositories/2/resources/71","Susan Gore collection, Date acquired: 00/00/2016","Greek Letter Societies","Bisexual women","Unitarian Universalist churches -- Clergy","State universities and colleges -- Florida","Lesbian activism -- United States","Arranged by subject or event within a series.","A Florida State University Alumni and Gamma Beta Phi sorority sister, Susan Gore \"came out\" in the 1970s as an activist and lesbian. After her graduation from FSU, she moved to Dallas, Texas where she began her journey as a leadership figure in the LGBT community. Gore moved back to Florida in the 2000s and with Edie Daly, started the LGBTQ Resource Center in partner with the Gulfport Public Library. The LGBTQ Resource Center has won the Newlan-Symons award and the National Medal for Museums and Library Service from the Institute of Museum and Library Services. In 2019, Susan Gore was announced as one of Tampa Bay's most remarkable people.","published","Materials in this collection include personal papers and correspondence, periodicals, pamphlets, newsletters, programs, newspaper clippings, publications, photos, visual media, ephemera, buttons, clothing, and various textiles.","Books and periodicals related to the archival collection are cataloged individually and shelved in the Queer Literature Collection. Titles and links to the catalog record are available on this finding aid via the Cataloged Publications series.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","The papers of Susan Gore, a lesbian activist in Pinellas County, Florida.  Gore was especially interested in Christian and spiritual opportunities for LGBT populations.","USF Libraries - Tampa Special Collections","Gore, Susan","English"],"unitid_tesim":["MS-2016-05","/repositories/2/resources/71"],"normalized_date_ssm":["Date acquired: 00/00/2016"],"normalized_title_ssm":["Susan Gore collection, Date acquired: 00/00/2016"],"collection_title_tesim":["Susan Gore collection, Date acquired: 00/00/2016"],"collection_ssim":["Susan Gore collection, Date acquired: 00/00/2016"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Greek Letter Societies"],"geogname_ssim":["Greek Letter Societies"],"creator_ssm":["Gore, Susan"],"creator_ssim":["Gore, Susan"],"creator_persname_ssim":["Gore, Susan"],"creators_ssim":["Gore, Susan"],"places_ssim":["Greek Letter Societies"],"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":["Susan Gore","Donation."],"access_subjects_ssim":["Bisexual women","Unitarian Universalist churches -- Clergy","State universities and colleges -- Florida","Lesbian activism -- United States"],"access_subjects_ssm":["Bisexual women","Unitarian Universalist churches -- Clergy","State universities and colleges -- Florida","Lesbian activism -- United States"],"has_online_content_ssim":["false"],"extent_ssm":["20 Linear Feet","36 boxes","2 items"],"extent_tesim":["20 Linear Feet","36 boxes","2 items"],"physfacet_tesim":["Framed oversized items on shelf"],"arrangement_html_tesm":["\u003cp\u003eArranged by subject or event within a series.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged by subject or event within a series."],"bioghist_html_tesm":["\u003cp\u003eA Florida State University Alumni and Gamma Beta Phi sorority sister, Susan Gore \"came out\" in the 1970s as an activist and lesbian. After her graduation from FSU, she moved to Dallas, Texas where she began her journey as a leadership figure in the LGBT community. Gore moved back to Florida in the 2000s and with Edie Daly, started the LGBTQ Resource Center in partner with the Gulfport Public Library. The LGBTQ Resource Center has won the Newlan-Symons award and the National Medal for Museums and Library Service from the Institute of Museum and Library Services. In 2019, Susan Gore was announced as one of Tampa Bay's most remarkable people.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["A Florida State University Alumni and Gamma Beta Phi sorority sister, Susan Gore \"came out\" in the 1970s as an activist and lesbian. After her graduation from FSU, she moved to Dallas, Texas where she began her journey as a leadership figure in the LGBT community. Gore moved back to Florida in the 2000s and with Edie Daly, started the LGBTQ Resource Center in partner with the Gulfport Public Library. The LGBTQ Resource Center has won the Newlan-Symons award and the National Medal for Museums and Library Service from the Institute of Museum and Library Services. In 2019, Susan Gore was announced as one of Tampa Bay's most remarkable people."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"scopecontent_html_tesm":["\u003cp\u003eMaterials in this collection include personal papers and correspondence, periodicals, pamphlets, newsletters, programs, newspaper clippings, publications, photos, visual media, ephemera, buttons, clothing, and various textiles.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials in this collection include personal papers and correspondence, periodicals, pamphlets, newsletters, programs, newspaper clippings, publications, photos, visual media, ephemera, buttons, clothing, and various textiles."],"separatedmaterial_html_tesm":["\u003cp\u003eBooks and periodicals related to the archival collection are cataloged individually and shelved in the Queer Literature Collection. Titles and links to the catalog record are available on this finding aid via the Cataloged Publications series.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Books and periodicals related to the archival collection are cataloged individually and shelved in the Queer Literature Collection. Titles and links to the catalog record are available on this finding aid via the Cataloged Publications series."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_a6e09f107fb6d53ac1000c597d2bf76d\"\u003eThe papers of Susan Gore, a lesbian activist in Pinellas County, Florida.  Gore was especially interested in Christian and spiritual opportunities for LGBT populations.\u003c/abstract\u003e"],"abstract_tesim":["The papers of Susan Gore, a lesbian activist in Pinellas County, Florida.  Gore was especially interested in Christian and spiritual opportunities for LGBT populations."],"names_ssim":["USF Libraries - Tampa Special Collections","Gore, Susan"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Gore, Susan"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":230,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1871405942681108480,"_root_":"4855640db2bdcc05397fe76f","timestamp":"2026-07-22T09:16:23.101Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/4855640db2bdcc05397fe76f_aspace_160775"}},{"id":"6a8ca297c8d957a918dee02d_aspace_d77a84a197e44f88c60b3042145dddc0","type":"Item","attributes":{"title":"Women of the 90s Challenging the 21st Century - Women's Awareness Week, 1990-03-05-1990-03-16","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/6a8ca297c8d957a918dee02d_aspace_d77a84a197e44f88c60b3042145dddc0#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_d77a84a197e44f88c60b3042145dddc0","ref_ssm":["aspace_d77a84a197e44f88c60b3042145dddc0","aspace_d77a84a197e44f88c60b3042145dddc0"],"id":"6a8ca297c8d957a918dee02d_aspace_d77a84a197e44f88c60b3042145dddc0","title_filing_ssi":"Women of the 90s Challenging the 21st Century - Women's Awareness Week ","title_ssm":["Women of the 90s Challenging the 21st Century - Women's Awareness Week "],"title_tesim":["Women of the 90s Challenging the 21st Century - Women's Awareness Week "],"unitdate_inclusive_ssm":["1990-03-05-1990-03-16"],"normalized_date_ssm":["1990-03-05-1990-03-16"],"normalized_title_ssm":["Women of the 90s Challenging the 21st Century - Women's Awareness Week, 1990-03-05-1990-03-16"],"text":["Women of the 90s Challenging the 21st Century - Women's Awareness Week, 1990-03-05-1990-03-16","Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Florida - Organizations \u0026 Subject Files II","USF Women's Studies, 2005-2008","/repositories/2/archival_objects/165069","box 2","folder 1","object 6"],"component_level_isim":[3],"parent_ids_ssim":["6a8ca297c8d957a918dee02d","6a8ca297c8d957a918dee02d_aspace_7726c67b9a8ead3f2ca7fbfbfe89e777","6a8ca297c8d957a918dee02d_aspace_126693"],"parent_unittitles_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Florida - Organizations \u0026 Subject Files II","USF Women's Studies, 2005-2008"],"parent_unittitles_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Florida - Organizations \u0026 Subject Files II","USF Women's Studies, 2005-2008"],"parent_levels_ssm":["collection","Box","File"],"unitid_ssm":["/repositories/2/archival_objects/165069"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":50,"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":[1990],"containers_ssim":["box 2","folder 1","object 6"],"_nest_path_":"/components#1/components#0/components#5","_nest_parent_":"6a8ca297c8d957a918dee02d_aspace_126693","_root_":"6a8ca297c8d957a918dee02d","_version_":1871496586827137024,"timestamp":"2026-07-23T09:17:07.992Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"6a8ca297c8d957a918dee02d","title_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection"],"title_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection"],"ead_ssi":"6a8ca297c8d957a918dee02d","unitdate_ssm":["1973-2014","1990-1998","Date acquired: 2006"],"unitdate_bulk_ssim":["1990-1998"],"unitdate_inclusive_ssm":["1973-2014"],"unitdate_other_ssim":["Date acquired: 2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2006-08","/repositories/2/resources/442"],"text":["MS-2006-08","/repositories/2/resources/442","Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Tampa (Fla.)","Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies","Organized alphabetically within series and subjects.","In 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication  Womyn's Words . As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.","Learn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.","Note written by CBW. Edited by CC, 2026.","Materials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.  Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence.","Womyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","The papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter  Womyn's Words .","USF Libraries - Tampa Special Collections","Daly, Edith (1937-)","English Croatian"],"unitid_tesim":["MS-2006-08","/repositories/2/resources/442"],"normalized_date_ssm":["1973-2014, Date acquired: 2006, bulk 1990-1998"],"normalized_title_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"collection_title_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"collection_ssim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.)"],"geogname_ssim":["Tampa (Fla.)"],"creator_ssm":["Daly, Edith (1937-)"],"creator_ssim":["Daly, Edith (1937-)"],"creator_persname_ssim":["Daly, Edith (1937-)"],"creators_ssim":["Daly, Edith (1937-)"],"places_ssim":["Tampa (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":["Edith Daly","Donation"],"access_subjects_ssim":["Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies"],"access_subjects_ssm":["Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies"],"has_online_content_ssim":["false"],"extent_ssm":["17 Linear Feet","27 boxes"],"extent_tesim":["17 Linear Feet","27 boxes"],"date_range_isim":[1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021],"arrangement_html_tesm":["\u003cp\u003eOrganized alphabetically within series and subjects.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Organized alphabetically within series and subjects."],"bioghist_html_tesm":["\u003cp\u003eIn 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication \u003cemph render=\"italic\"\u003eWomyn's Words\u003c/emph\u003e. As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.\u003c/p\u003e\n","\u003cp\u003eLearn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.\u003c/p\u003e\n","\u003cp\u003eNote written by CBW. Edited by CC, 2026.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication  Womyn's Words . As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.","Learn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.","Note written by CBW. Edited by CC, 2026."],"prefercite_html_tesm":["\u003cp\u003eEdith Daly / Women's Energy Bank collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Edith Daly / Women's Energy Bank collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.\u0026#xA0; Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.  Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence."],"separatedmaterial_html_tesm":["\u003cp\u003eWomyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Womyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)"],"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_035d6fc98144dc90e3c384ced17a9893\"\u003eThe papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter \u003cemph render=\"italic\"\u003eWomyn's Words\u003c/emph\u003e.\u003c/abstract\u003e"],"abstract_tesim":["The papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter  Womyn's Words ."],"names_ssim":["USF Libraries - Tampa Special Collections","Daly, Edith (1937-)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Daly, Edith (1937-)"],"language_ssim":["English Croatian"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1323,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1871496586827137024,"_root_":"6a8ca297c8d957a918dee02d","timestamp":"2026-07-23T09:17:07.992Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/6a8ca297c8d957a918dee02d_aspace_d77a84a197e44f88c60b3042145dddc0"}},{"id":"1aded63055ea5256d98fec72_aspace_88187","type":"Item","attributes":{"title":"Women of the Book, 2001","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1aded63055ea5256d98fec72_aspace_88187#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_88187","ref_ssm":["aspace_88187","aspace_88187"],"id":"1aded63055ea5256d98fec72_aspace_88187","title_filing_ssi":"Women of the Book","title_ssm":["Women of the Book"],"title_tesim":["Women of the Book"],"unitdate_other_ssim":["2001"],"normalized_date_ssm":["2001"],"normalized_title_ssm":["Women of the Book, 2001"],"text":["Women of the Book, 2001","Jaffe Family Archives, 1881-2012, bulk 1940-2012","Books and Magazines","Item 11","/repositories/2/archival_objects/13565","box 54"],"component_level_isim":[2],"parent_ids_ssim":["1aded63055ea5256d98fec72","1aded63055ea5256d98fec72_aspace_88171"],"parent_unittitles_ssm":["Jaffe Family Archives, 1881-2012, bulk 1940-2012","Books and Magazines"],"parent_unittitles_tesim":["Jaffe Family Archives, 1881-2012, bulk 1940-2012","Books and Magazines"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["Item 11","/repositories/2/archival_objects/13565"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["Jaffe Family Archives, 1881-2012, bulk 1940-2012"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":516,"parent_access_restrict_tesm":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"parent_access_terms_tesm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \"fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"containers_ssim":["box 54"],"_nest_path_":"/components#15/components#12","_nest_parent_":"1aded63055ea5256d98fec72_aspace_88171","_root_":"1aded63055ea5256d98fec72","_version_":1870841967001206784,"timestamp":"2026-07-16T03:52:13.972Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1aded63055ea5256d98fec72","title_ssm":["Jaffe Family Archives"],"title_tesim":["Jaffe Family Archives"],"ead_ssi":"1aded63055ea5256d98fec72","unitdate_ssm":["1881-2012","1940-2012"],"unitdate_bulk_ssim":["1940-2012"],"unitdate_inclusive_ssm":["1881-2012"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["JCBA0003","/repositories/2/resources/36"],"text":["JCBA0003","/repositories/2/resources/36","Jaffe Family Archives, 1881-2012, bulk 1940-2012","Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","Chronological","Arthur H. Jaffe was born and raised in Butler, Pennsylvania and graduated from Pennsylvania State University with a B.A. degree in Classical Studies. Arthur Jaffe has had several distinguished careers. From 1942-1946 he served in World War II as an Army captain in charge of a military intelligence unit. Following WWII, Mr. Jaffe went to Palestine, where he studied at the Hebrew University in Jerusalem. While there he began working as a Haganah officer, gathering information which was helpful in the formation of the new state of Israel. Mr. Jaffe then had a successful 30-year career as a partner in the family owned business, the House of Jaffe, a chain of department stores in western Pennsylvania, Ohio, and Michigan. After the death of his first wife, Lois, Jaffe moved to Pittsburgh where he began a new career as Director of Planning and Development for the Carnegie Institute. He soon became involved in fund-raising in the Jewish community of Pittsburgh, where his success brought him to the attention of the Jewish Community Foundation of South Palm Beach County.  In 1984, he and second wife Mata moved to Boca Raton where Arthur served as Founding Director of the Jewish Community Foundation of South Palm Beach County.","In 1998, Arthur and Mata established the Jaffe Center for the Book Arts at Florida Atlantic University (FAU). The Jaffe Collection has grown to include over 12,000 titles and is one of the largest and most varied of its kind in the United States. Arthur Jaffe was awarded an Honorary Doctorate of Humane Letters from FAU in 2011.","This finding aid documents the life and significant contributions of Arthur H. Jaffe.  It also includes information about his parents, five siblings, and two wives: Lois Silverstein and Mata Barack Loevner. The papers are organized by Arthur Jaffe's places of residence and then as much as possible chronologically.","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \"fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections .","Florida Atlantic University Libraries","English"],"unitid_tesim":["JCBA0003","/repositories/2/resources/36"],"normalized_date_ssm":["1881-2012, bulk 1940-2012"],"normalized_title_ssm":["Jaffe Family Archives, 1881-2012, bulk 1940-2012"],"collection_title_tesim":["Jaffe Family Archives, 1881-2012, bulk 1940-2012"],"collection_ssim":["Jaffe Family Archives, 1881-2012, bulk 1940-2012"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"access_terms_ssm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \"fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"has_online_content_ssim":["false"],"extent_ssm":["33.00 Linear Feet"],"extent_tesim":["33.00 Linear Feet"],"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.\u003c/p\u003e\n","\u003cp\u003ePhotocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"arrangement_html_tesm":["\u003cp\u003eChronological\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Chronological"],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida."],"scopecontent_html_tesm":["\u003cp\u003eArthur H. Jaffe was born and raised in Butler, Pennsylvania and graduated from Pennsylvania State University with a B.A. degree in Classical Studies. Arthur Jaffe has had several distinguished careers. From 1942-1946 he served in World War II as an Army captain in charge of a military intelligence unit. Following WWII, Mr. Jaffe went to Palestine, where he studied at the Hebrew University in Jerusalem. While there he began working as a Haganah officer, gathering information which was helpful in the formation of the new state of Israel. Mr. Jaffe then had a successful 30-year career as a partner in the family owned business, the House of Jaffe, a chain of department stores in western Pennsylvania, Ohio, and Michigan. After the death of his first wife, Lois, Jaffe moved to Pittsburgh where he began a new career as Director of Planning and Development for the Carnegie Institute. He soon became involved in fund-raising in the Jewish community of Pittsburgh, where his success brought him to the attention of the Jewish Community Foundation of South Palm Beach County.  In 1984, he and second wife Mata moved to Boca Raton where Arthur served as Founding Director of the Jewish Community Foundation of South Palm Beach County.\u003c/p\u003e\n","\u003cp\u003eIn 1998, Arthur and Mata established the Jaffe Center for the Book Arts at Florida Atlantic University (FAU). The Jaffe Collection has grown to include over 12,000 titles and is one of the largest and most varied of its kind in the United States. Arthur Jaffe was awarded an Honorary Doctorate of Humane Letters from FAU in 2011.\u003c/p\u003e\n","\u003cp\u003eThis finding aid documents the life and significant contributions of Arthur H. Jaffe.  It also includes information about his parents, five siblings, and two wives: Lois Silverstein and Mata Barack Loevner. The papers are organized by Arthur Jaffe's places of residence and then as much as possible chronologically.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Arthur H. Jaffe was born and raised in Butler, Pennsylvania and graduated from Pennsylvania State University with a B.A. degree in Classical Studies. Arthur Jaffe has had several distinguished careers. From 1942-1946 he served in World War II as an Army captain in charge of a military intelligence unit. Following WWII, Mr. Jaffe went to Palestine, where he studied at the Hebrew University in Jerusalem. While there he began working as a Haganah officer, gathering information which was helpful in the formation of the new state of Israel. Mr. Jaffe then had a successful 30-year career as a partner in the family owned business, the House of Jaffe, a chain of department stores in western Pennsylvania, Ohio, and Michigan. After the death of his first wife, Lois, Jaffe moved to Pittsburgh where he began a new career as Director of Planning and Development for the Carnegie Institute. He soon became involved in fund-raising in the Jewish community of Pittsburgh, where his success brought him to the attention of the Jewish Community Foundation of South Palm Beach County.  In 1984, he and second wife Mata moved to Boca Raton where Arthur served as Founding Director of the Jewish Community Foundation of South Palm Beach County.","In 1998, Arthur and Mata established the Jaffe Center for the Book Arts at Florida Atlantic University (FAU). The Jaffe Collection has grown to include over 12,000 titles and is one of the largest and most varied of its kind in the United States. Arthur Jaffe was awarded an Honorary Doctorate of Humane Letters from FAU in 2011.","This finding aid documents the life and significant contributions of Arthur H. Jaffe.  It also includes information about his parents, five siblings, and two wives: Lois Silverstein and Mata Barack Loevner. The papers are organized by Arthur Jaffe's places of residence and then as much as possible chronologically."],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \"fair use,\" may result in the user's liability for copyright infringement.\u003c/p\u003e\n","\u003cp\u003eWhen using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.\u003c/p\u003e\n","\u003cp\u003eShould the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact \u003ca href=\"mailto:lysca@fau.edu\"\u003eSpecial Collections\u003c/a\u003e.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \"fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"names_ssim":["Florida Atlantic University Libraries"],"corpname_ssim":["Florida Atlantic University Libraries"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":541,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870841967001206784,"_root_":"1aded63055ea5256d98fec72","timestamp":"2026-07-16T03:52:13.972Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1aded63055ea5256d98fec72_aspace_88187"}},{"id":"f70dba2e4db85b9be660d412_aspace_167164","type":"Item","attributes":{"title":"Women of the World","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/f70dba2e4db85b9be660d412_aspace_167164#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eItems available: 2 records\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f70dba2e4db85b9be660d412_aspace_167164#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_167164","ref_ssm":["aspace_167164","aspace_167164"],"id":"f70dba2e4db85b9be660d412_aspace_167164","title_filing_ssi":"Women of the World","title_ssm":["Women of the World"],"title_tesim":["Women of the World"],"normalized_title_ssm":["Women of the World"],"text":["Women of the World","Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","Embassy Productions","Item Emy 66","/repositories/10/archival_objects/63158","Items available: 2 records"],"component_level_isim":[2],"parent_ids_ssim":["f70dba2e4db85b9be660d412","f70dba2e4db85b9be660d412_aspace_167097"],"parent_unittitles_ssm":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","Embassy Productions"],"parent_unittitles_tesim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","Embassy Productions"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["Item Emy 66","/repositories/10/archival_objects/63158"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":899,"parent_access_restrict_tesm":["This collection is open to all researchers. ","Portions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Boxes 2-5 and 8 may be accessed at the Claude Pepper Library."],"parent_access_terms_tesm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"scopecontent_html_tesm":["\u003cp\u003eItems available: 2 records\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Items available: 2 records"],"_nest_path_":"/components#8/components#66","_nest_parent_":"f70dba2e4db85b9be660d412_aspace_167097","_root_":"f70dba2e4db85b9be660d412","timestamp":"2026-04-21T12:50:36.292Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f70dba2e4db85b9be660d412","title_ssm":["Cinema Promotional Materials"],"title_tesim":["Cinema Promotional Materials"],"ead_ssi":"f70dba2e4db85b9be660d412","unitdate_ssm":["1957-1976","Date acquired: 08/01/1976"],"unitdate_inclusive_ssm":["1957-1976"],"unitdate_other_ssim":["Date acquired: 08/01/1976"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 76-18","/repositories/10/resources/599"],"text":["MSS 76-18","/repositories/10/resources/599","Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","Motion pictures--United States--Distribution","Motion picture industry--United States.","Promotional materials","Television advertising -- United States","Radio advertising -- United States","Advertising--Motion pictures","Motion pictures.","This collection is open to all researchers. ","Portions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Boxes 2-5 and 8 may be accessed at the Claude Pepper Library.","The larger studios materials are listed as series with all titles in alphabetical order. The movies of the smaller studios are listed in the miscellaneous series in alphabetical order by movie title. With the titles, what materials (press book, record, tapes) are available are listed.","Processed November, 1977.","This collection contains cinema promotional materials in various formats, including press books, 33 1/3 and 45 records, cassette tapes of radio commercials and video tapes.\n Each press book contains advertising material for the promotion of a particular film such as stories about the stars or production of the movie, actual layouts of various sizes, campaign plans, and related information. In size, the press books vary from a single page or sheet to a booklet of a dozen or more pages. Some contain various enclosures such as pictures and additional ad sheets.\n The records consist of 33 1/3's and 45's which may contain several radio commercials of various lengths.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","FSU Special Collections \u0026 Archives","English"],"unitid_tesim":["MSS 76-18","/repositories/10/resources/599"],"normalized_date_ssm":["1957-1976, Date acquired: 08/01/1976"],"normalized_title_ssm":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"collection_title_tesim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"collection_ssim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["Gift of Mr. Leslie W. Pendleton, District Supervisor, Kent Theatres, Inc.","Received August 1976 through the efforts of Dr. Ungurait."],"access_subjects_ssim":["Motion pictures--United States--Distribution","Motion picture industry--United States.","Promotional materials","Television advertising -- United States","Radio advertising -- United States","Advertising--Motion pictures","Motion pictures."],"access_subjects_ssm":["Motion pictures--United States--Distribution","Motion picture industry--United States.","Promotional materials","Television advertising -- United States","Radio advertising -- United States","Advertising--Motion pictures","Motion pictures."],"has_online_content_ssim":["false"],"extent_ssm":["5521.00 items"],"extent_tesim":["5521.00 items"],"genreform_ssim":["Motion pictures."],"date_range_isim":[1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003ePortions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e\n","\u003cp\u003eBoxes 2-5 and 8 may be accessed at the Claude Pepper Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","Portions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Boxes 2-5 and 8 may be accessed at the Claude Pepper Library."],"arrangement_html_tesm":["\u003cp\u003eThe larger studios materials are listed as series with all titles in alphabetical order. The movies of the smaller studios are listed in the miscellaneous series in alphabetical order by movie title. With the titles, what materials (press book, record, tapes) are available are listed.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The larger studios materials are listed as series with all titles in alphabetical order. The movies of the smaller studios are listed in the miscellaneous series in alphabetical order by movie title. With the titles, what materials (press book, record, tapes) are available are listed."],"prefercite_html_tesm":["\u003cp\u003eCinema Promotional Materials, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-76-18\u003c/p\u003e"],"prefercite_tesim":["Cinema Promotional Materials, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-76-18"],"processinfo_html_tesm":["\u003cp\u003eProcessed November, 1977.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed November, 1977."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains cinema promotional materials in various formats, including press books, 33 1/3 and 45 records, cassette tapes of radio commercials and video tapes.\n\u003cbr\u003e\u003cbr\u003eEach press book contains advertising material for the promotion of a particular film such as stories about the stars or production of the movie, actual layouts of various sizes, campaign plans, and related information. In size, the press books vary from a single page or sheet to a booklet of a dozen or more pages. Some contain various enclosures such as pictures and additional ad sheets.\n\u003cbr\u003e\u003cbr\u003eThe records consist of 33 1/3's and 45's which may contain several radio commercials of various lengths.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains cinema promotional materials in various formats, including press books, 33 1/3 and 45 records, cassette tapes of radio commercials and video tapes.\n Each press book contains advertising material for the promotion of a particular film such as stories about the stars or production of the movie, actual layouts of various sizes, campaign plans, and related information. In size, the press books vary from a single page or sheet to a booklet of a dozen or more pages. Some contain various enclosures such as pictures and additional ad sheets.\n The records consist of 33 1/3's and 45's which may contain several radio commercials of various lengths."],"userestrict_html_tesm":["\u003cp\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026amp; Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"names_ssim":["FSU Special Collections \u0026 Archives"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2853,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"f70dba2e4db85b9be660d412","timestamp":"2026-04-21T12:50:36.292Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/f70dba2e4db85b9be660d412_aspace_167164"}},{"id":"18ce43a3c782b797db9fa781_aspace_179094","type":"Item","attributes":{"title":"[Women on dock]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179094#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179094#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179094","ref_ssm":["aspace_179094","aspace_179094"],"id":"18ce43a3c782b797db9fa781_aspace_179094","title_filing_ssi":"[Women on dock]","title_ssm":["[Women on dock]"],"title_tesim":["[Women on dock]"],"normalized_title_ssm":["[Women on dock]"],"text":["[Women on dock]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel - Summer, 1903","Item 19","/repositories/2/archival_objects/83126","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179862","18ce43a3c782b797db9fa781_aspace_179075"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel - Summer, 1903"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel - Summer, 1903"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 19","/repositories/2/archival_objects/83126"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1682,"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."],"scopecontent_html_tesm":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Black and white photograph."],"_nest_path_":"/components#27/components#1/components#18","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179075","_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_179094"}},{"id":"18ce43a3c782b797db9fa781_aspace_178634","type":"Item","attributes":{"title":"[Women on pier]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178634#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178634#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_178634","ref_ssm":["aspace_178634","aspace_178634"],"id":"18ce43a3c782b797db9fa781_aspace_178634","title_filing_ssi":"[Women on pier]","title_ssm":["[Women on pier]"],"title_tesim":["[Women on pier]"],"normalized_title_ssm":["[Women on pier]"],"text":["[Women on pier]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Misc.","Item 76","/repositories/2/archival_objects/83575","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179901","18ce43a3c782b797db9fa781_aspace_179603"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Misc."],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Misc."],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 76","/repositories/2/archival_objects/83575"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":2311,"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."],"scopecontent_html_tesm":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Black and white photograph."],"_nest_path_":"/components#33/components#1/components#75","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179603","_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_178634"}},{"id":"18ce43a3c782b797db9fa781_aspace_178742","type":"Item","attributes":{"title":"[Women on prow of boat]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178742#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178742#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_178742","ref_ssm":["aspace_178742","aspace_178742"],"id":"18ce43a3c782b797db9fa781_aspace_178742","title_filing_ssi":"[Women on prow of boat]","title_ssm":["[Women on prow of boat]"],"title_tesim":["[Women on prow of boat]"],"normalized_title_ssm":["[Women on prow of boat]"],"text":["[Women on prow of boat]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Fenns","Item 35","/repositories/2/archival_objects/83173","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179888","18ce43a3c782b797db9fa781_aspace_178699"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Fenns"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Fenns"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 35","/repositories/2/archival_objects/83173"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1977,"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."],"scopecontent_html_tesm":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Black and white photograph."],"_nest_path_":"/components#30/components#1/components#34","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_178699","_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_178742"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Degen Playbill Collection, 1895-2023","value":"Degen Playbill Collection, 1895-2023","hits":7503},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Degen+Playbill+Collection%2C+1895-2023\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"William Knight Zewadski Classical movie stills collection, 1860-2007, Date acquired: 00/00/2018","value":"William Knight Zewadski Classical movie stills collection, 1860-2007, Date acquired: 00/00/2018","hits":5448},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=William+Knight+Zewadski+Classical+movie+stills+collection%2C+1860-2007%2C+Date+acquired%3A+00%2F00%2F2018\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Vertical files, 1900-2005","value":"Vertical files, 1900-2005","hits":4886},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Vertical+files%2C+1900-2005\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"University Communications Collection, 1940-2013, bulk 1990-2013","value":"University Communications Collection, 1940-2013, bulk 1990-2013","hits":4471},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=University+Communications+Collection%2C+1940-2013%2C+bulk+1990-2013\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Doak S. Campbell Papers, 1935-1972, 1935-1972","value":"Doak S. Campbell Papers, 1935-1972, 1935-1972","hits":4388},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Doak+S.+Campbell+Papers%2C+1935-1972%2C+1935-1972\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Southwest Florida Map Collection, 1925-2017","value":"Southwest Florida Map Collection, 1925-2017","hits":4078},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Southwest+Florida+Map+Collection%2C+1925-2017\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Florida State University Media Relations Files, 1969-1995","value":"Florida State University Media Relations Files, 1969-1995","hits":3166},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Florida+State+University+Media+Relations+Files%2C+1969-1995\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","value":"Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","hits":2836},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Cinema+Promotional+Materials%2C+1957-1976%2C+Date+acquired%3A+08%2F01%2F1976\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Sally Thompson collection, 1976-2019","value":"Sally Thompson collection, 1976-2019","hits":2667},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Sally+Thompson+collection%2C+1976-2019\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Hampton Dunn Collection of Florida Postcards, 1900-1985","value":"Hampton Dunn Collection of Florida Postcards, 1900-1985","hits":2600},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Hampton+Dunn+Collection+of+Florida+Postcards%2C+1900-1985\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Weymouth Tyree Jordan Papers, 1822-1970","value":"Weymouth Tyree Jordan Papers, 1822-1970","hits":2525},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Weymouth+Tyree+Jordan+Papers%2C+1822-1970\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/collection_ssim.json?f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"type":"facet","id":"creator_ssim","attributes":{"label":"Creator","items":[{"attributes":{"label":"Henry Clay and Bock \u0026 Co., Ltd. (Trenton, New Jersey)","value":"Henry Clay and Bock \u0026 Co., Ltd. (Trenton, New Jersey)","hits":262},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Henry+Clay+and+Bock+%26+Co.%2C+Ltd.+%28Trenton%2C+New+Jersey%29\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Eastman Kodak Company","value":"Eastman Kodak Company","hits":114},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Eastman+Kodak+Company\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Levine, Seymour","value":"Levine, Seymour","hits":61},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Levine%2C+Seymour\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Wagner, Richard, 1813-1883","value":"Wagner, Richard, 1813-1883","hits":45},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Wagner%2C+Richard%2C+1813-1883\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Gatewood, Minnie L.","value":"Gatewood, Minnie L.","hits":39},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Gatewood%2C+Minnie+L.\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Verdi, Giuseppe, 1813-1901","value":"Verdi, Giuseppe, 1813-1901","hits":32},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Verdi%2C+Giuseppe%2C+1813-1901\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Buth, D. G.","value":"Buth, D. G.","hits":28},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Buth%2C+D.+G.\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Stecher, Jo","value":"Stecher, Jo","hits":19},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Stecher%2C+Jo\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Klingenberg Detmond Company","value":"Klingenberg Detmond Company","hits":17},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Klingenberg+Detmond+Company\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Rossini, Gioacchino, 1792-1868","value":"Rossini, Gioacchino, 1792-1868","hits":10},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Rossini%2C+Gioacchino%2C+1792-1868\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"American Lithographic Company","value":"American Lithographic Company","hits":8},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=American+Lithographic+Company\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/creator_ssim.json?f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"type":"facet","id":"date_range_isim","attributes":{"label":"Date range","items":[{"attributes":{"label":"1945","value":"1945","hits":1139},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1945\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1990","value":"1990","hits":877},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1990\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1993","value":"1993","hits":812},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1993\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1989","value":"1989","hits":787},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1989\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1996","value":"1996","hits":784},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1996\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1995","value":"1995","hits":739},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1995\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1999","value":"1999","hits":729},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1999\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1994","value":"1994","hits":728},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1994\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1997","value":"1997","hits":721},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1997\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1991","value":"1991","hits":716},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1991\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1992","value":"1992","hits":716},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1992\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2000","value":"2000","hits":701},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2000\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1986","value":"1986","hits":692},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1986\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1998","value":"1998","hits":672},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1998\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1988","value":"1988","hits":669},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1988\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1944","value":"1944","hits":659},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1944\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1987","value":"1987","hits":632},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1987\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2003","value":"2003","hits":624},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2003\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1943","value":"1943","hits":598},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1943\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1984","value":"1984","hits":597},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1984\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1980","value":"1980","hits":596},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1980\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1979","value":"1979","hits":592},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1979\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2001","value":"2001","hits":591},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2001\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1983","value":"1983","hits":587},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1983\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1981","value":"1981","hits":583},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1981\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1985","value":"1985","hits":583},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1985\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2002","value":"2002","hits":570},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2002\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1982","value":"1982","hits":553},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1982\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1973","value":"1973","hits":547},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2005","value":"2005","hits":493},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2005\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2007","value":"2007","hits":486},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2007\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1942","value":"1942","hits":482},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1942\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2004","value":"2004","hits":469},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2004\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2006","value":"2006","hits":469},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2006\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1977","value":"1977","hits":465},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1977\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1972","value":"1972","hits":463},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1972\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1960","value":"1960","hits":459},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1960\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1978","value":"1978","hits":459},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1978\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1970","value":"1970","hits":456},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1970\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1974","value":"1974","hits":447},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1974\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1976","value":"1976","hits":445},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1976\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1969","value":"1969","hits":429},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1969\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1925","value":"1925","hits":426},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1958","value":"1958","hits":425},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1958\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2008","value":"2008","hits":415},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2008\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1975","value":"1975","hits":401},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1975\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1946","value":"1946","hits":394},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1946\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1957","value":"1957","hits":387},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1957\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2014","value":"2014","hits":381},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2014\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1941","value":"1941","hits":380},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1941\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2013","value":"2013","hits":378},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2013\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1940","value":"1940","hits":377},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1940\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1950","value":"1950","hits":373},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1950\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1971","value":"1971","hits":368},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1971\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1956","value":"1956","hits":365},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1956\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2010","value":"2010","hits":356},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2010\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1948","value":"1948","hits":343},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1948\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1953","value":"1953","hits":337},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1953\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1968","value":"1968","hits":337},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1968\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2012","value":"2012","hits":326},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1966","value":"1966","hits":325},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1966\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1959","value":"1959","hits":322},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1959\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1952","value":"1952","hits":320},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1952\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1955","value":"1955","hits":319},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1955\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1954","value":"1954","hits":317},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1954\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1962","value":"1962","hits":316},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1962\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1947","value":"1947","hits":315},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1947\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2009","value":"2009","hits":314},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2009\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1951","value":"1951","hits":308},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1951\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1965","value":"1965","hits":307},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1965\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1964","value":"1964","hits":300},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1964\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1967","value":"1967","hits":300},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1967\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2011","value":"2011","hits":290},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2011\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1949","value":"1949","hits":287},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1949\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2016","value":"2016","hits":278},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2016\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2022","value":"2022","hits":255},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2022\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1939","value":"1939","hits":246},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1939\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1963","value":"1963","hits":240},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1963\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1926","value":"1926","hits":239},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1926\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2015","value":"2015","hits":237},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2015\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1938","value":"1938","hits":233},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1938\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1961","value":"1961","hits":228},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1961\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1936","value":"1936","hits":224},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1936\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1937","value":"1937","hits":220},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1937\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2017","value":"2017","hits":213},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2017\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1935","value":"1935","hits":204},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1933","value":"1933","hits":202},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1933\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1930","value":"1930","hits":197},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1930\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1932","value":"1932","hits":192},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1932\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1929","value":"1929","hits":189},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1929\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1920","value":"1920","hits":185},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1920\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1934","value":"1934","hits":182},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1934\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1924","value":"1924","hits":180},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1924\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2018","value":"2018","hits":174},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2018\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1931","value":"1931","hits":169},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1931\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1927","value":"1927","hits":165},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1927\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1928","value":"1928","hits":151},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1908","value":"1908","hits":150},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1908\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"2019","value":"2019","hits":149},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2019\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"1923","value":"1923","hits":143},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1923\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/date_range_isim.json?f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"type":"facet","id":"level_ssim","attributes":{"label":"Level","items":[{"attributes":{"label":"Item","value":"Item","hits":192992},"links":{"remove":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Collection","value":"Collection","hits":69},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Blevel%5D%5B%5D=Collection\u0026view=list"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/level_ssim.json?f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"type":"facet","id":"names_ssim","attributes":{"label":"Names","items":[{"attributes":{"label":"Henry Clay and Bock \u0026 Co., Ltd. (Trenton, New Jersey)","value":"Henry Clay and Bock \u0026 Co., Ltd. (Trenton, New Jersey)","hits":263},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bnames%5D%5B%5D=Henry+Clay+and+Bock+%26+Co.%2C+Ltd.+%28Trenton%2C+New+Jersey%29\u0026view=list"}},{"attributes":{"label":"Eastman Kodak Company","value":"Eastman Kodak Company","hits":116},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bnames%5D%5B%5D=Eastman+Kodak+Company\u0026view=list"}},{"attributes":{"label":"Levine, Seymour","value":"Levine, Seymour","hits":61},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bnames%5D%5B%5D=Levine%2C+Seymour\u0026view=list"}},{"attributes":{"label":"Wagner, Richard, 1813-1883","value":"Wagner, Richard, 1813-1883","hits":45},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bnames%5D%5B%5D=Wagner%2C+Richard%2C+1813-1883\u0026view=list"}},{"attributes":{"label":"Gatewood, Minnie L.","value":"Gatewood, Minnie L.","hits":39},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bnames%5D%5B%5D=Gatewood%2C+Minnie+L.\u0026view=list"}},{"attributes":{"label":"Verdi, Giuseppe, 1813-1901","value":"Verdi, Giuseppe, 1813-1901","hits":33},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bnames%5D%5B%5D=Verdi%2C+Giuseppe%2C+1813-1901\u0026view=list"}},{"attributes":{"label":"Buth, D. G.","value":"Buth, D. G.","hits":28},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bnames%5D%5B%5D=Buth%2C+D.+G.\u0026view=list"}},{"attributes":{"label":" Broward County Historical Archives","value":" Broward County Historical Archives","hits":21},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bnames%5D%5B%5D=+Broward+County+Historical+Archives\u0026view=list"}},{"attributes":{"label":"Letson, Arthur (Sethuel Arthur), 1921-1995","value":"Letson, Arthur (Sethuel Arthur), 1921-1995","hits":19},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bnames%5D%5B%5D=Letson%2C+Arthur+%28Sethuel+Arthur%29%2C+1921-1995\u0026view=list"}},{"attributes":{"label":"Shubert Theatre (Organization : New York, N.Y.)","value":"Shubert Theatre (Organization : New York, N.Y.)","hits":19},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bnames%5D%5B%5D=Shubert+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29\u0026view=list"}},{"attributes":{"label":"Stecher, Jo","value":"Stecher, Jo","hits":19},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bnames%5D%5B%5D=Stecher%2C+Jo\u0026view=list"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/names_ssim.json?f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"FSU Special Collections \u0026 Archives","value":"FSU Special Collections \u0026 Archives","hits":63189},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Brepository%5D%5B%5D=FSU+Special+Collections+%26+Archives\u0026view=list"}},{"attributes":{"label":"USF Libraries - Tampa Special Collections","value":"USF Libraries - Tampa Special Collections","hits":45618},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Brepository%5D%5B%5D=USF+Libraries+-+Tampa+Special+Collections\u0026view=list"}},{"attributes":{"label":"Florida Atlantic University Libraries","value":"Florida Atlantic University Libraries","hits":26937},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Brepository%5D%5B%5D=Florida+Atlantic+University+Libraries\u0026view=list"}},{"attributes":{"label":"UCF Special Collections","value":"UCF Special Collections","hits":18695},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Brepository%5D%5B%5D=UCF+Special+Collections\u0026view=list"}},{"attributes":{"label":"Florida Gulf Coast University Special Collections","value":"Florida Gulf Coast University Special Collections","hits":9688},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Brepository%5D%5B%5D=Florida+Gulf+Coast+University+Special+Collections\u0026view=list"}},{"attributes":{"label":"The John A. Degen Resource Room at FSU","value":"The John A. Degen Resource Room at FSU","hits":7503},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Brepository%5D%5B%5D=The+John+A.+Degen+Resource+Room+at+FSU\u0026view=list"}},{"attributes":{"label":"FIU Special Collections","value":"FIU Special Collections","hits":5927},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Brepository%5D%5B%5D=FIU+Special+Collections\u0026view=list"}},{"attributes":{"label":"Broward County Historical Archives","value":"Broward County Historical Archives","hits":3866},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Brepository%5D%5B%5D=Broward+County+Historical+Archives\u0026view=list"}},{"attributes":{"label":"Florida Gulf Coast University Archives","value":"Florida Gulf Coast University Archives","hits":3162},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Brepository%5D%5B%5D=Florida+Gulf+Coast+University+Archives\u0026view=list"}},{"attributes":{"label":"AARLCC Special Collections","value":"AARLCC Special Collections","hits":2390},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Brepository%5D%5B%5D=AARLCC+Special+Collections\u0026view=list"}},{"attributes":{"label":"UNF Library Special Collections and University Archives","value":"UNF Library Special Collections and University Archives","hits":1551},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Brepository%5D%5B%5D=UNF+Library+Special+Collections+and+University+Archives\u0026view=list"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/repository_ssim.json?f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"type":"facet","id":"geogname_ssim","attributes":{"label":"Places","items":[{"attributes":{"label":"Captiva Island (Fla.)","value":"Captiva Island (Fla.)","hits":645},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bplaces%5D%5B%5D=Captiva+Island+%28Fla.%29\u0026view=list"}},{"attributes":{"label":"Sanibel (Fla.)","value":"Sanibel (Fla.)","hits":645},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bplaces%5D%5B%5D=Sanibel+%28Fla.%29\u0026view=list"}},{"attributes":{"label":"Kodak camera.","value":"Kodak camera.","hits":101},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bplaces%5D%5B%5D=Kodak+camera.\u0026view=list"}},{"attributes":{"label":"Photography.","value":"Photography.","hits":82},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bplaces%5D%5B%5D=Photography.\u0026view=list"}},{"attributes":{"label":"LaBelle (Fla.)","value":"LaBelle (Fla.)","hits":64},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bplaces%5D%5B%5D=LaBelle+%28Fla.%29\u0026view=list"}},{"attributes":{"label":"Fort Myers (Fla.)","value":"Fort Myers (Fla.)","hits":61},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bplaces%5D%5B%5D=Fort+Myers+%28Fla.%29\u0026view=list"}},{"attributes":{"label":"Fort Myers (Fla.)--History.","value":"Fort Myers (Fla.)--History.","hits":58},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bplaces%5D%5B%5D=Fort+Myers+%28Fla.%29--History.\u0026view=list"}},{"attributes":{"label":"World War II","value":"World War II","hits":46},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bplaces%5D%5B%5D=World+War+II\u0026view=list"}},{"attributes":{"label":"St. Petersburg (Fla.) ","value":"St. Petersburg (Fla.) ","hits":44},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bplaces%5D%5B%5D=St.+Petersburg+%28Fla.%29+\u0026view=list"}},{"attributes":{"label":"Miami (Fla.)","value":"Miami (Fla.)","hits":43},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bplaces%5D%5B%5D=Miami+%28Fla.%29\u0026view=list"}},{"attributes":{"label":"United States -- History","value":"United States -- History","hits":43},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026f%5Bplaces%5D%5B%5D=United+States+--+History\u0026view=list"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/geogname_ssim.json?f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"type":"facet","id":"access_subjects_ssim","attributes":{"label":"Subjects","items":[{"attributes":{"label":"Maps","value":"Maps","hits":4082},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Maps\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Operas -- Librettos","value":"Operas -- Librettos","hits":297},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Operas+--+Librettos\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Opera","value":"Opera","hits":290},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Opera\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"University of South Florida -- Faculty","value":"University of South Florida -- Faculty","hits":211},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=University+of+South+Florida+--+Faculty\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Postcards.\t","value":"Postcards.\t","hits":199},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Postcards.%09\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Clippings (Books, newspapers, etc.)","value":"Clippings (Books, newspapers, etc.)","hits":188},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Clippings+%28Books%2C+newspapers%2C+etc.%29\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Printed ephemera","value":"Printed ephemera","hits":179},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Printed+ephemera\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Art","value":"Art","hits":161},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Art\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Oral history","value":"Oral history","hits":156},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Oral+history\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Eastman Kodak Company.","value":"Eastman Kodak Company.","hits":114},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Eastman+Kodak+Company.\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"attributes":{"label":"Obituary","value":"Obituary","hits":70},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Obituary\u0026f%5Blevel%5D%5B%5D=Item\u0026view=list"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/access_subjects_ssim.json?f%5Blevel%5D%5B%5D=Item\u0026view=list"}},{"type":"search_field","id":"all_fields","attributes":{"label":"All Fields"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026search_field=all_fields\u0026view=list"}},{"type":"search_field","id":"keyword","attributes":{"label":"Keyword"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026search_field=keyword\u0026view=list"}},{"type":"search_field","id":"name","attributes":{"label":"Name"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026search_field=name\u0026view=list"}},{"type":"search_field","id":"place","attributes":{"label":"Place"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026search_field=place\u0026view=list"}},{"type":"search_field","id":"subject","attributes":{"label":"Subject"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026search_field=subject\u0026view=list"}},{"type":"search_field","id":"title","attributes":{"label":"Title"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026search_field=title\u0026view=list"}},{"type":"search_field","id":"container","attributes":{"label":"Container"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026search_field=container\u0026view=list"}},{"type":"search_field","id":"identifier","attributes":{"label":"Identifier"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026search_field=identifier\u0026view=list"}},{"type":"sort","id":"score desc, title_sort asc","attributes":{"label":"relevance"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026sort=score+desc%2C+title_sort+asc\u0026view=list"}},{"type":"sort","id":"date_sort asc","attributes":{"label":"date (ascending)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026sort=date_sort+asc\u0026view=list"}},{"type":"sort","id":"date_sort desc","attributes":{"label":"date (descending)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026sort=date_sort+desc\u0026view=list"}},{"type":"sort","id":"creator_sort asc","attributes":{"label":"creator (A-Z)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026sort=creator_sort+asc\u0026view=list"}},{"type":"sort","id":"creator_sort desc","attributes":{"label":"creator (Z-A)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026sort=creator_sort+desc\u0026view=list"}},{"type":"sort","id":"title_sort asc","attributes":{"label":"title (A-Z)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026sort=title_sort+asc\u0026view=list"}},{"type":"sort","id":"title_sort desc","attributes":{"label":"title (Z-A)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19082\u0026sort=title_sort+desc\u0026view=list"}}]}