{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19123","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19122","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19124","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19300"},"meta":{"pages":{"current_page":19123,"next_page":19124,"prev_page":19122,"total_pages":19300,"limit_value":10,"offset_value":191220,"total_count":192992,"first_page?":false,"last_page?":false}},"data":[{"id":"c535959967939890c4a30b27_aspace_0d94a3e10f1956a341593d2cac5d3b9c","type":"Item","attributes":{"title":"Woodruff, Charles E.","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/c535959967939890c4a30b27_aspace_0d94a3e10f1956a341593d2cac5d3b9c#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_0d94a3e10f1956a341593d2cac5d3b9c","ref_ssm":["aspace_0d94a3e10f1956a341593d2cac5d3b9c","aspace_0d94a3e10f1956a341593d2cac5d3b9c"],"id":"c535959967939890c4a30b27_aspace_0d94a3e10f1956a341593d2cac5d3b9c","title_filing_ssi":"Woodruff, Charles E. ","title_ssm":["Woodruff, Charles E. "],"title_tesim":["Woodruff, Charles E. "],"normalized_title_ssm":["Woodruff, Charles E."],"text":["Woodruff, Charles E.","Vertical files, 1900-2005","Biographical Index","W","/repositories/2/archival_objects/197832"],"component_level_isim":[3],"parent_ids_ssim":["c535959967939890c4a30b27","c535959967939890c4a30b27_aspace_e24dde343949547256f92be295beae4d","c535959967939890c4a30b27_aspace_3923f361ecf2aafd7d77b8f119e14d80"],"parent_unittitles_ssm":["Vertical files, 1900-2005","Biographical Index","W"],"parent_unittitles_tesim":["Vertical files, 1900-2005","Biographical Index","W"],"parent_levels_ssm":["collection","Series","Series"],"unitid_ssm":["/repositories/2/archival_objects/197832"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Vertical files, 1900-2005"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":4824,"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."],"_nest_path_":"/components#0/components#22/components#264","_nest_parent_":"c535959967939890c4a30b27_aspace_3923f361ecf2aafd7d77b8f119e14d80","_root_":"c535959967939890c4a30b27","_version_":1881465993006415872,"timestamp":"2026-11-10T10:16:34.681Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"c535959967939890c4a30b27","title_ssm":["Vertical files"],"title_tesim":["Vertical files"],"ead_ssi":"c535959967939890c4a30b27","unitdate_ssm":["1900-2005"],"unitdate_inclusive_ssm":["1900-2005"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["RD-1960-01","/repositories/2/resources/612"],"text":["RD-1960-01","/repositories/2/resources/612","Vertical files, 1900-2005","Florida -- Biography","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 biographical vertical files consist of articles from local publications including, but not limited to, the following: La Gaceta, The Tampa Tribune, The St. Petersburg Times and the Miami Herald. These files may contain feature length articles or obituary notices.","USF Libraries - Tampa Special Collections","Tampa Tribune (1895-2016) (Tampa, Fla.)","Florida Audubon Society","Greater Tampa Chamber of Commerce","Florida. Governor (1917-1921 : Catts)","Catts, Sidney Johnston, 1863-1936","English"],"unitid_tesim":["RD-1960-01","/repositories/2/resources/612"],"normalized_date_ssm":["1900-2005"],"normalized_title_ssm":["Vertical files, 1900-2005"],"collection_title_tesim":["Vertical files, 1900-2005"],"collection_ssim":["Vertical files, 1900-2005"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"access_subjects_ssim":["Florida -- Biography"],"access_subjects_ssm":["Florida -- Biography"],"has_online_content_ssim":["false"],"extent_ssm":["39 Cubic Feet"],"extent_tesim":["39 Cubic Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"userestrict_html_tesm":["\u003cp\u003eNone.  The contents of the collection may be subject to copyright.  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_b751902f9471baf1c338df56dba5bba1\"\u003eThe biographical vertical files consist of articles from local publications including, but not limited to, the following: La Gaceta, The Tampa Tribune, The St. Petersburg Times and the Miami Herald. These files may contain feature length articles or obituary notices.\u003c/abstract\u003e"],"abstract_tesim":["The biographical vertical files consist of articles from local publications including, but not limited to, the following: La Gaceta, The Tampa Tribune, The St. Petersburg Times and the Miami Herald. These files may contain feature length articles or obituary notices."],"names_ssim":["USF Libraries - Tampa Special Collections","Tampa Tribune (1895-2016) (Tampa, Fla.)","Florida Audubon Society","Greater Tampa Chamber of Commerce","Florida. Governor (1917-1921 : Catts)","Catts, Sidney Johnston, 1863-1936"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Tampa Tribune (1895-2016) (Tampa, Fla.)","Florida Audubon Society","Greater Tampa Chamber of Commerce","Florida. Governor (1917-1921 : Catts)"],"persname_ssim":["Catts, Sidney Johnston, 1863-1936"],"language_ssim":["English"],"total_component_count_is":4914,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1881465993006415872,"_root_":"c535959967939890c4a30b27","timestamp":"2026-11-10T10:16:34.681Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/c535959967939890c4a30b27_aspace_0d94a3e10f1956a341593d2cac5d3b9c"}},{"id":"98b1eeaf3fc4c4f85d62c389_aspace_60602","type":"Item","attributes":{"title":"Woodruff, Tom, St. Petersburg, Florida., June 14, 1979.","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/98b1eeaf3fc4c4f85d62c389_aspace_60602#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_60602","ref_ssm":["aspace_60602","aspace_60602"],"id":"98b1eeaf3fc4c4f85d62c389_aspace_60602","title_filing_ssi":"Woodruff, Tom, St. Petersburg, Florida.","title_ssm":["Woodruff, Tom, St. Petersburg, Florida."],"title_tesim":["Woodruff, Tom, St. Petersburg, Florida."],"unitdate_other_ssim":["June 14, 1979."],"normalized_date_ssm":["June 14, 1979."],"normalized_title_ssm":["Woodruff, Tom, St. Petersburg, Florida., June 14, 1979."],"text":["Woodruff, Tom, St. Petersburg, Florida., June 14, 1979.","John L. Ducker Collection, 1863-2007","Correspondence, 1956-1990, Undated.","Outgoing Letters, 1956-1990, Undated.","Item 9","/repositories/4/archival_objects/45759","box 2","folder 100"],"component_level_isim":[3],"parent_ids_ssim":["98b1eeaf3fc4c4f85d62c389","98b1eeaf3fc4c4f85d62c389_aspace_59973","98b1eeaf3fc4c4f85d62c389_aspace_60203"],"parent_unittitles_ssm":["John L. Ducker Collection, 1863-2007","Correspondence, 1956-1990, Undated.","Outgoing Letters, 1956-1990, Undated."],"parent_unittitles_tesim":["John L. Ducker Collection, 1863-2007","Correspondence, 1956-1990, Undated.","Outgoing Letters, 1956-1990, Undated."],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["Item 9","/repositories/4/archival_objects/45759"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["John L. Ducker Collection, 1863-2007"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":734,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"containers_ssim":["box 2","folder 100"],"_nest_path_":"/components#1/components#2/components#362","_nest_parent_":"98b1eeaf3fc4c4f85d62c389_aspace_60203","_root_":"98b1eeaf3fc4c4f85d62c389","_version_":1870857819479080960,"timestamp":"2026-07-16T08:04:11.988Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"98b1eeaf3fc4c4f85d62c389","title_ssm":["John L. Ducker Collection"],"title_tesim":["John L. Ducker Collection"],"ead_ssi":"98b1eeaf3fc4c4f85d62c389","unitdate_ssm":["1863-2007"],"unitdate_inclusive_ssm":["1863-2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.091","/repositories/4/resources/182"],"text":["SC.091","/repositories/4/resources/182","John L. Ducker Collection, 1863-2007","Florida -- Politics and government","Orlando (Fla.)--Politics and Government","Politicians -- Florida","Wills -- Florida","Photographic prints","scrapbooks","The entire collection is open for research.","The collection consists of materials related to former Senator John L. Ducker's personal, professional, and political life. Among these materials are his research files; correspondence, to, from, and about Ducker; newspaper and newsletter clippings pertaining to his interests; certificates and awards he received during his political career; medical documents related to his tumor surgery he underwent in 1977; personal and event photographs from meetings; wills \u0026 estates, the attorney work of John L. Ducker including correspondence between clients, postcards, and will drafts; a scrapbook documents his activities mainly from 1943 to 1970; and ephemeras such as large patch for the Florida State Senate, commemorative copy of the Gettysburg Address, and a plate from the 1968 Republican National Convention held in Miami, Florida.","Former Florida Senator John Lackner Ducker was born in Fort Thomas, Kentucky on September 3, 1922. He received his bachelor's degree in arts from Yale University in 1944, as well as his law degree in 1951; in addition, Ducker also served in the United States Army, eventually achieving the rank of Second Lieutenant, Signal Corps, during World War II. He had an early familiarity with Florida that was owed to his family owning property in Fort Myers in the 1920's and 1930's, and he later maintained a legal practice in Orlando. An active politician on behalf of the Republican Party, Ducker would come to serve in the Florida House of Representatives from 1960-1968 prior to his election to its Senate, on which he remained until 1971. He enjoyed traveling all over the world, he visited every continent including Antarctica. He was a member of the Episcopal Church, Phi Beta Kappa, Orange County Young Republicans Clubs, American Legion, Bar Association of Florida, Sportsmen's Association, Chamber of Commerce, and Boy Scouts. Due to his poor health, he passed away in Longwood, Florida on April 15, 2014. The memorial service was held in Episcopal Church of the Resurrection on May 7, 2014.","Materials were placed in pH neutral folders and boxes.","Processed by Suphi Burak Ogreten, Alexa DeCristofaro, Hannah Baumann, and Megan Humphries; finding aid prepared by Suphi Burak Ogreten","For information on other Florida history collections, please visit our  website.","Series I: Research Files, 1957-2001, includes pamphlets, press releases, invitations, event programs, reports, meeting records, minutes, and miscellaneous documents arranged within their respective subject category.","\nSeries II: Correspondence, 1956-1990, includes incoming and outgoing letters to, from, and about John L. Ducker; incoming letters to the relatives of John L. Ducker; and miscellaneous correspondence.","\nSeries III: Clippings, 1949-1990, includes newspaper, magazine, and newsletter clippings with articles pertaining to the interests of John L. Ducker arranged within their subject category.","\nSeries IV: Certificates, 1946-2007, contains over sixty certificates John L. Ducker received from 1946 to 2007. The items are arranged chronologically by date.","\nSeries V: Medical Documents, 1976-1977, the documents of John L. Ducker's tumor surgery he underwent in 1977, including appointment cards, correspondence between doctors, medical receipts and billing. The documents are arranged chronologically by date.","\nSeries VI: Photographs, 1963-2004, Senator John L. Ducker collected photographic prints over the course of his long career of service to the state of Florida. Individuals include such as Margaret H. Thatcher, Robert Joseph \"Bob\" Dole, Newton Leroy \"Newt\" Gingrich, Norman Schwarzkopf, Mikhail Gorbachev, Louis Sheldon, Claude Kirk, and United States Presidents Richard Nixon, Gerald Ford, Ronald Reagan, and George H. W. Bush.","\nSeries VII: Wills and Estates, 1952-1991, the attorney work of John L. Ducker and that is Last Wills and Testaments, but also includes miscellaneous papers, correspondence between clients, postcards and will drafts. The documents are arranged in alphabetical order.","\nSeries VIII: Scrapbook, 1864, 1943-1970, consists of a scrapbook created by John L. Ducker documents his activities mainly from 1943 through 1970; including awards, certificates, clippings, correspondence, and photographs. Items that were loose in the scrapbook have been removed for preservation and placed in acid free envelopes.","\nSeries IX: Ephemera, 1863, 1968, Undated, includes a large patch for the Florida State Senate, commemorative copy of the Gettysburg Address, and a plate from the 1968 Republican National Convention held in Miami, Florida.","Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.","This collection is comprised of research files, correspondence, news clippings, certificates, medical records, photographs, and a scrapbook that belonged to attorney and politician John L. Ducker, who was a member of the Florida House of Representatives from 1960-1968 and the Florida state Senate from 1968-1971. Items in the collection pertain to his personal activities, in addition to his longtime interest in politics, world and local events of the day, as well as legal affairs. John L. Ducker was one of the sponsors of the legislation establishing Florida Technological University (FTU) what is now University of Central Florida (UCF). The entire collection is open for research.","UCF Special Collections","Republican Party (Fla.)","Ducker, John L. (John Lackner), 1922-2014","English"],"unitid_tesim":["SC.091","/repositories/4/resources/182"],"normalized_date_ssm":["1863-2007"],"normalized_title_ssm":["John L. Ducker Collection, 1863-2007"],"collection_title_tesim":["John L. Ducker Collection, 1863-2007"],"collection_ssim":["John L. Ducker Collection, 1863-2007"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida -- Politics and government"],"geogname_ssim":["Florida -- Politics and government"],"places_ssim":["Florida -- Politics and government"],"access_terms_ssm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["Stuart R. Ducker donated these materials to the University of Central Florida Libraries, Special Collections and University Archives in 2012 (CFM2012_03)."],"access_subjects_ssim":["Orlando (Fla.)--Politics and Government","Politicians -- Florida","Wills -- Florida","Photographic prints","scrapbooks"],"access_subjects_ssm":["Orlando (Fla.)--Politics and Government","Politicians -- Florida","Wills -- Florida","Photographic prints","scrapbooks"],"has_online_content_ssim":["false"],"extent_ssm":["6.25 Linear Feet 8 Boxes, 1 Flat File"],"extent_tesim":["6.25 Linear Feet 8 Boxes, 1 Flat File"],"genreform_ssim":["Photographic prints","scrapbooks"],"date_range_isim":[1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection consists of materials related to former Senator John L. Ducker's personal, professional, and political life. Among these materials are his research files; correspondence, to, from, and about Ducker; newspaper and newsletter clippings pertaining to his interests; certificates and awards he received during his political career; medical documents related to his tumor surgery he underwent in 1977; personal and event photographs from meetings; wills \u0026amp; estates, the attorney work of John L. Ducker including correspondence between clients, postcards, and will drafts; a scrapbook documents his activities mainly from 1943 to 1970; and ephemeras such as large patch for the Florida State Senate, commemorative copy of the Gettysburg Address, and a plate from the 1968 Republican National Convention held in Miami, Florida.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection consists of materials related to former Senator John L. Ducker's personal, professional, and political life. Among these materials are his research files; correspondence, to, from, and about Ducker; newspaper and newsletter clippings pertaining to his interests; certificates and awards he received during his political career; medical documents related to his tumor surgery he underwent in 1977; personal and event photographs from meetings; wills \u0026 estates, the attorney work of John L. Ducker including correspondence between clients, postcards, and will drafts; a scrapbook documents his activities mainly from 1943 to 1970; and ephemeras such as large patch for the Florida State Senate, commemorative copy of the Gettysburg Address, and a plate from the 1968 Republican National Convention held in Miami, Florida."],"bioghist_html_tesm":["\u003cp\u003eFormer Florida Senator John Lackner Ducker was born in Fort Thomas, Kentucky on September 3, 1922. He received his bachelor's degree in arts from Yale University in 1944, as well as his law degree in 1951; in addition, Ducker also served in the United States Army, eventually achieving the rank of Second Lieutenant, Signal Corps, during World War II. He had an early familiarity with Florida that was owed to his family owning property in Fort Myers in the 1920's and 1930's, and he later maintained a legal practice in Orlando. An active politician on behalf of the Republican Party, Ducker would come to serve in the Florida House of Representatives from 1960-1968 prior to his election to its Senate, on which he remained until 1971. He enjoyed traveling all over the world, he visited every continent including Antarctica. He was a member of the Episcopal Church, Phi Beta Kappa, Orange County Young Republicans Clubs, American Legion, Bar Association of Florida, Sportsmen's Association, Chamber of Commerce, and Boy Scouts. Due to his poor health, he passed away in Longwood, Florida on April 15, 2014. The memorial service was held in Episcopal Church of the Resurrection on May 7, 2014.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Former Florida Senator John Lackner Ducker was born in Fort Thomas, Kentucky on September 3, 1922. He received his bachelor's degree in arts from Yale University in 1944, as well as his law degree in 1951; in addition, Ducker also served in the United States Army, eventually achieving the rank of Second Lieutenant, Signal Corps, during World War II. He had an early familiarity with Florida that was owed to his family owning property in Fort Myers in the 1920's and 1930's, and he later maintained a legal practice in Orlando. An active politician on behalf of the Republican Party, Ducker would come to serve in the Florida House of Representatives from 1960-1968 prior to his election to its Senate, on which he remained until 1971. He enjoyed traveling all over the world, he visited every continent including Antarctica. He was a member of the Episcopal Church, Phi Beta Kappa, Orange County Young Republicans Clubs, American Legion, Bar Association of Florida, Sportsmen's Association, Chamber of Commerce, and Boy Scouts. Due to his poor health, he passed away in Longwood, Florida on April 15, 2014. The memorial service was held in Episcopal Church of the Resurrection on May 7, 2014."],"prefercite_html_tesm":["\u003cp\u003eJohn L. Ducker Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["John L. Ducker Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eMaterials were placed in pH neutral folders and boxes.\u003c/p\u003e","\u003cp\u003eProcessed by Suphi Burak Ogreten, Alexa DeCristofaro, Hannah Baumann, and Megan Humphries; finding aid prepared by Suphi Burak Ogreten\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Materials were placed in pH neutral folders and boxes.","Processed by Suphi Burak Ogreten, Alexa DeCristofaro, Hannah Baumann, and Megan Humphries; finding aid prepared by Suphi Burak Ogreten"],"relatedmaterial_html_tesm":["\u003cp\u003eFor information on other Florida history collections, please visit our \u003cextref href=\"http://library.ucf.edu/about/departments/special-collections-university-archives/special-collections/special-collections-collection-guides/#FloridaHistoryCollections\"\u003ewebsite.\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["For information on other Florida history collections, please visit our  website."],"scopecontent_html_tesm":["\u003cp\u003eSeries I: Research Files, 1957-2001, includes pamphlets, press releases, invitations, event programs, reports, meeting records, minutes, and miscellaneous documents arranged within their respective subject category.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: Correspondence, 1956-1990, includes incoming and outgoing letters to, from, and about John L. Ducker; incoming letters to the relatives of John L. Ducker; and miscellaneous correspondence.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Clippings, 1949-1990, includes newspaper, magazine, and newsletter clippings with articles pertaining to the interests of John L. Ducker arranged within their subject category.\u003c/p\u003e\n","\u003cp\u003e\nSeries IV: Certificates, 1946-2007, contains over sixty certificates John L. Ducker received from 1946 to 2007. The items are arranged chronologically by date.\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Medical Documents, 1976-1977, the documents of John L. Ducker's tumor surgery he underwent in 1977, including appointment cards, correspondence between doctors, medical receipts and billing. The documents are arranged chronologically by date.\u003c/p\u003e\n","\u003cp\u003e\nSeries VI: Photographs, 1963-2004, Senator John L. Ducker collected photographic prints over the course of his long career of service to the state of Florida. Individuals include such as Margaret H. Thatcher, Robert Joseph \"Bob\" Dole, Newton Leroy \"Newt\" Gingrich, Norman Schwarzkopf, Mikhail Gorbachev, Louis Sheldon, Claude Kirk, and United States Presidents Richard Nixon, Gerald Ford, Ronald Reagan, and George H. W. Bush.\u003c/p\u003e\n","\u003cp\u003e\nSeries VII: Wills and Estates, 1952-1991, the attorney work of John L. Ducker and that is Last Wills and Testaments, but also includes miscellaneous papers, correspondence between clients, postcards and will drafts. The documents are arranged in alphabetical order.\u003c/p\u003e\n","\u003cp\u003e\nSeries VIII: Scrapbook, 1864, 1943-1970, consists of a scrapbook created by John L. Ducker documents his activities mainly from 1943 through 1970; including awards, certificates, clippings, correspondence, and photographs. Items that were loose in the scrapbook have been removed for preservation and placed in acid free envelopes.\u003c/p\u003e\n","\u003cp\u003e\nSeries IX: Ephemera, 1863, 1968, Undated, includes a large patch for the Florida State Senate, commemorative copy of the Gettysburg Address, and a plate from the 1968 Republican National Convention held in Miami, Florida.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Series I: Research Files, 1957-2001, includes pamphlets, press releases, invitations, event programs, reports, meeting records, minutes, and miscellaneous documents arranged within their respective subject category.","\nSeries II: Correspondence, 1956-1990, includes incoming and outgoing letters to, from, and about John L. Ducker; incoming letters to the relatives of John L. Ducker; and miscellaneous correspondence.","\nSeries III: Clippings, 1949-1990, includes newspaper, magazine, and newsletter clippings with articles pertaining to the interests of John L. Ducker arranged within their subject category.","\nSeries IV: Certificates, 1946-2007, contains over sixty certificates John L. Ducker received from 1946 to 2007. The items are arranged chronologically by date.","\nSeries V: Medical Documents, 1976-1977, the documents of John L. Ducker's tumor surgery he underwent in 1977, including appointment cards, correspondence between doctors, medical receipts and billing. The documents are arranged chronologically by date.","\nSeries VI: Photographs, 1963-2004, Senator John L. Ducker collected photographic prints over the course of his long career of service to the state of Florida. Individuals include such as Margaret H. Thatcher, Robert Joseph \"Bob\" Dole, Newton Leroy \"Newt\" Gingrich, Norman Schwarzkopf, Mikhail Gorbachev, Louis Sheldon, Claude Kirk, and United States Presidents Richard Nixon, Gerald Ford, Ronald Reagan, and George H. W. Bush.","\nSeries VII: Wills and Estates, 1952-1991, the attorney work of John L. Ducker and that is Last Wills and Testaments, but also includes miscellaneous papers, correspondence between clients, postcards and will drafts. The documents are arranged in alphabetical order.","\nSeries VIII: Scrapbook, 1864, 1943-1970, consists of a scrapbook created by John L. Ducker documents his activities mainly from 1943 through 1970; including awards, certificates, clippings, correspondence, and photographs. Items that were loose in the scrapbook have been removed for preservation and placed in acid free envelopes.","\nSeries IX: Ephemera, 1863, 1968, Undated, includes a large patch for the Florida State Senate, commemorative copy of the Gettysburg Address, and a plate from the 1968 Republican National Convention held in Miami, Florida."],"userestrict_html_tesm":["\u003cp\u003eUnpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_e25267f5790eea3eabda79c0b9c79034\" label=\"Abstract\"\u003eThis collection is comprised of research files, correspondence, news clippings, certificates, medical records, photographs, and a scrapbook that belonged to attorney and politician John L. Ducker, who was a member of the Florida House of Representatives from 1960-1968 and the Florida state Senate from 1968-1971. Items in the collection pertain to his personal activities, in addition to his longtime interest in politics, world and local events of the day, as well as legal affairs. John L. Ducker was one of the sponsors of the legislation establishing Florida Technological University (FTU) what is now University of Central Florida (UCF). The entire collection is open for research.\u003c/abstract\u003e"],"abstract_tesim":["This collection is comprised of research files, correspondence, news clippings, certificates, medical records, photographs, and a scrapbook that belonged to attorney and politician John L. Ducker, who was a member of the Florida House of Representatives from 1960-1968 and the Florida state Senate from 1968-1971. Items in the collection pertain to his personal activities, in addition to his longtime interest in politics, world and local events of the day, as well as legal affairs. John L. Ducker was one of the sponsors of the legislation establishing Florida Technological University (FTU) what is now University of Central Florida (UCF). The entire collection is open for research."],"names_coll_ssim":["Republican Party (Fla.)","Ducker, John L. (John Lackner), 1922-2014"],"names_ssim":["UCF Special Collections","Republican Party (Fla.)","Ducker, John L. (John Lackner), 1922-2014"],"corpname_ssim":["UCF Special Collections","Republican Party (Fla.)"],"persname_ssim":["Ducker, John L. (John Lackner), 1922-2014"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1912,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857819479080960,"_root_":"98b1eeaf3fc4c4f85d62c389","timestamp":"2026-07-16T08:04:11.988Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/98b1eeaf3fc4c4f85d62c389_aspace_60602"}},{"id":"c535959967939890c4a30b27_aspace_f7a04d5a888ad1bc94059aa8d696f9c0","type":"Item","attributes":{"title":"Woodruff, Woody","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/c535959967939890c4a30b27_aspace_f7a04d5a888ad1bc94059aa8d696f9c0#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_f7a04d5a888ad1bc94059aa8d696f9c0","ref_ssm":["aspace_f7a04d5a888ad1bc94059aa8d696f9c0","aspace_f7a04d5a888ad1bc94059aa8d696f9c0"],"id":"c535959967939890c4a30b27_aspace_f7a04d5a888ad1bc94059aa8d696f9c0","title_filing_ssi":"Woodruff, Woody ","title_ssm":["Woodruff, Woody "],"title_tesim":["Woodruff, Woody "],"normalized_title_ssm":["Woodruff, Woody"],"text":["Woodruff, Woody","Vertical files, 1900-2005","Biographical Index","W","/repositories/2/archival_objects/197833"],"component_level_isim":[3],"parent_ids_ssim":["c535959967939890c4a30b27","c535959967939890c4a30b27_aspace_e24dde343949547256f92be295beae4d","c535959967939890c4a30b27_aspace_3923f361ecf2aafd7d77b8f119e14d80"],"parent_unittitles_ssm":["Vertical files, 1900-2005","Biographical Index","W"],"parent_unittitles_tesim":["Vertical files, 1900-2005","Biographical Index","W"],"parent_levels_ssm":["collection","Series","Series"],"unitid_ssm":["/repositories/2/archival_objects/197833"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Vertical files, 1900-2005"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":4825,"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."],"_nest_path_":"/components#0/components#22/components#265","_nest_parent_":"c535959967939890c4a30b27_aspace_3923f361ecf2aafd7d77b8f119e14d80","_root_":"c535959967939890c4a30b27","_version_":1881465993006415872,"timestamp":"2026-11-10T10:16:34.681Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"c535959967939890c4a30b27","title_ssm":["Vertical files"],"title_tesim":["Vertical files"],"ead_ssi":"c535959967939890c4a30b27","unitdate_ssm":["1900-2005"],"unitdate_inclusive_ssm":["1900-2005"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["RD-1960-01","/repositories/2/resources/612"],"text":["RD-1960-01","/repositories/2/resources/612","Vertical files, 1900-2005","Florida -- Biography","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 biographical vertical files consist of articles from local publications including, but not limited to, the following: La Gaceta, The Tampa Tribune, The St. Petersburg Times and the Miami Herald. These files may contain feature length articles or obituary notices.","USF Libraries - Tampa Special Collections","Tampa Tribune (1895-2016) (Tampa, Fla.)","Florida Audubon Society","Greater Tampa Chamber of Commerce","Florida. Governor (1917-1921 : Catts)","Catts, Sidney Johnston, 1863-1936","English"],"unitid_tesim":["RD-1960-01","/repositories/2/resources/612"],"normalized_date_ssm":["1900-2005"],"normalized_title_ssm":["Vertical files, 1900-2005"],"collection_title_tesim":["Vertical files, 1900-2005"],"collection_ssim":["Vertical files, 1900-2005"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"access_subjects_ssim":["Florida -- Biography"],"access_subjects_ssm":["Florida -- Biography"],"has_online_content_ssim":["false"],"extent_ssm":["39 Cubic Feet"],"extent_tesim":["39 Cubic Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"userestrict_html_tesm":["\u003cp\u003eNone.  The contents of the collection may be subject to copyright.  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_b751902f9471baf1c338df56dba5bba1\"\u003eThe biographical vertical files consist of articles from local publications including, but not limited to, the following: La Gaceta, The Tampa Tribune, The St. Petersburg Times and the Miami Herald. These files may contain feature length articles or obituary notices.\u003c/abstract\u003e"],"abstract_tesim":["The biographical vertical files consist of articles from local publications including, but not limited to, the following: La Gaceta, The Tampa Tribune, The St. Petersburg Times and the Miami Herald. These files may contain feature length articles or obituary notices."],"names_ssim":["USF Libraries - Tampa Special Collections","Tampa Tribune (1895-2016) (Tampa, Fla.)","Florida Audubon Society","Greater Tampa Chamber of Commerce","Florida. Governor (1917-1921 : Catts)","Catts, Sidney Johnston, 1863-1936"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Tampa Tribune (1895-2016) (Tampa, Fla.)","Florida Audubon Society","Greater Tampa Chamber of Commerce","Florida. Governor (1917-1921 : Catts)"],"persname_ssim":["Catts, Sidney Johnston, 1863-1936"],"language_ssim":["English"],"total_component_count_is":4914,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1881465993006415872,"_root_":"c535959967939890c4a30b27","timestamp":"2026-11-10T10:16:34.681Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/c535959967939890c4a30b27_aspace_f7a04d5a888ad1bc94059aa8d696f9c0"}},{"id":"18ce43a3c782b797db9fa781_aspace_178033","type":"Item","attributes":{"title":"[Woods]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178033#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_178033#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_178033","ref_ssm":["aspace_178033","aspace_178033"],"id":"18ce43a3c782b797db9fa781_aspace_178033","title_filing_ssi":"[Woods]","title_ssm":["[Woods]"],"title_tesim":["[Woods]"],"normalized_title_ssm":["[Woods]"],"text":["[Woods]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Outdoor Scenes, Winter Scenes, Sunset Farm, St. Hartford","St Hartford - Bolles Home","Item 9","/repositories/2/archival_objects/82156","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179823","18ce43a3c782b797db9fa781_aspace_178024"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Outdoor Scenes, Winter Scenes, Sunset Farm, St. Hartford","St Hartford - Bolles Home"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Outdoor Scenes, Winter Scenes, Sunset Farm, St. Hartford","St Hartford - Bolles Home"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 9","/repositories/2/archival_objects/82156"],"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":1012,"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#20/components#3/components#8","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_178024","_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_178033"}},{"id":"18ce43a3c782b797db9fa781_aspace_179161","type":"Item","attributes":{"title":"[Woods]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179161#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_179161#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179161","ref_ssm":["aspace_179161","aspace_179161"],"id":"18ce43a3c782b797db9fa781_aspace_179161","title_filing_ssi":"[Woods]","title_ssm":["[Woods]"],"title_tesim":["[Woods]"],"normalized_title_ssm":["[Woods]"],"text":["[Woods]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Kineo, Maine, 1905-1906","Item 13","/repositories/2/archival_objects/82918","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179852","18ce43a3c782b797db9fa781_aspace_179148"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Kineo, Maine, 1905-1906"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Kineo, Maine, 1905-1906"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 13","/repositories/2/archival_objects/82918"],"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":1627,"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#26/components#3/components#12","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179148","_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_179161"}},{"id":"18ce43a3c782b797db9fa781_aspace_178126","type":"Item","attributes":{"title":"[Woods]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178126#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_178126#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_178126","ref_ssm":["aspace_178126","aspace_178126"],"id":"18ce43a3c782b797db9fa781_aspace_178126","title_filing_ssi":"[Woods]","title_ssm":["[Woods]"],"title_tesim":["[Woods]"],"normalized_title_ssm":["[Woods]"],"text":["[Woods]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Marrs, 1901","Item 22","/repositories/2/archival_objects/82973","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179890","18ce43a3c782b797db9fa781_aspace_178119"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Marrs, 1901"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Marrs, 1901"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 22","/repositories/2/archival_objects/82973"],"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":2045,"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#31/components#0/components#21","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_178119","_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_178126"}},{"id":"8e8eb767b10f9dd7d311ef05_aspace_210674","type":"Item","attributes":{"title":"Wood Scrapbook cover","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/8e8eb767b10f9dd7d311ef05_aspace_210674#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_210674","ref_ssm":["aspace_210674","aspace_210674"],"id":"8e8eb767b10f9dd7d311ef05_aspace_210674","title_filing_ssi":"Wood Scrapbook cover","title_ssm":["Wood Scrapbook cover"],"title_tesim":["Wood Scrapbook cover"],"normalized_title_ssm":["Wood Scrapbook cover"],"text":["Wood Scrapbook cover","Dorothy Marshman Fredrickson papers, 1942-1946, Date acquired: 10/16/2007","039","/repositories/10/archival_objects/136535","box 07.0117 - Box 1","object 039"],"component_level_isim":[1],"parent_ids_ssim":["8e8eb767b10f9dd7d311ef05"],"parent_unittitles_ssm":["Dorothy Marshman Fredrickson papers, 1942-1946, Date acquired: 10/16/2007"],"parent_unittitles_tesim":["Dorothy Marshman Fredrickson papers, 1942-1946, Date acquired: 10/16/2007"],"parent_levels_ssm":["collection"],"unitid_ssm":["039","/repositories/10/archival_objects/136535"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Dorothy Marshman Fredrickson papers, 1942-1946, Date acquired: 10/16/2007"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":39,"parent_access_restrict_tesm":["This collection is open to all researchers."],"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."],"containers_ssim":["box 07.0117 - Box 1","object 039"],"_nest_path_":"/components#38","_nest_parent_":"8e8eb767b10f9dd7d311ef05","_root_":"8e8eb767b10f9dd7d311ef05","timestamp":"2026-07-08T13:09:40.720Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"8e8eb767b10f9dd7d311ef05","title_filing_ssi":"Fredrickson,  Dorothy Marshman papers","title_ssm":["Dorothy Marshman Fredrickson papers"],"title_tesim":["Dorothy Marshman Fredrickson papers"],"ead_ssi":"8e8eb767b10f9dd7d311ef05","unitdate_ssm":["1942-1946","Date acquired: 10/16/2007"],"unitdate_inclusive_ssm":["1942-1946"],"unitdate_other_ssim":["Date acquired: 10/16/2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["07.0117","/repositories/10/resources/926"],"text":["07.0117","/repositories/10/resources/926","Dorothy Marshman Fredrickson papers, 1942-1946, Date acquired: 10/16/2007","Deposit (N.Y.)","New York (N.Y.)","San Francisco (Calif.)","Bronx (New York, N.Y.)","Women--Employment","World War, 1939-1945--Personal narratives","World War, 1939-1945","World War, 1939-1945--Women","World War, 1939-1945--United States","World War, 1939-1945--Personal narratives, American","World War, 1939-1945--Women--United States","United States. Navy--Postal service","United States. Navy--Women","This collection is open to all researchers.","Dorothy Jane Marshman Fredrickson was born on July 15, 1924, in Deposit, New York, to Helen Pearsall Martin and William Daniel Marshman. Her father served in the Navy during both World Wars and was declared missing in action, later presumed dead, following the destruction of the USS  Barton  during the Naval Battle of Guadalcanal in 1942. In June of 1942, she graduated from Deposit Central High School. She then worked in the research laboratory of the American Casein Company (now known as AMCO Proteins) in Bainbridge, New York. Fredrickson enlisted as a WAVE in Birmingham in honor of her father shortly after her 20th birthday in July of 1943. She was sworn in in Rochester in late July.","Fredrickson received training at Hunter College in the Bronx, New York. She was assigned to the Pacific Fleet Post Office in San Francisco, California, where she worked as a section leader. She served there for the duration of the war. After the war she used the G.I. Bill to attend Cornell University. She majored in Biology as a pre-veterinary medicine program. She was honorably discharged in April 1946. On August 30, 1948, she married Elwood Harry Fredrickson.","Fredrickson passed away on May 22, 2006.","Transferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026 Archives in July 2022.","Other collections held by the Institute on World War II and the Human Experience that are pertinent to this collection are the William Daniel Marshman collection (07.0115) and the Elwood Harry Fredrickson papers (07.0116).","This collection pertains to Dorothy Marshman Fredrickson who served as a WAVE at the United States Navy Fleet Post Office in San Francisco, California. The collection contains letters from Fredrickson to her mother and sister. There are also photocopies of scrapbook pages as well as leisure photographs, newspaper clippings, greeting cards, menus, ticket stubs, railroad timetables, playbills, and show programs from the scrapbooks. The collection also contains periodicals and other publications from various sources, most concerning the Navy and/or WAVES, and WAVES rules and regulations handbooks.","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","Hunter College","United States. Naval Reserve. Women's Reserve","Fredrickson, Dorothy Marshman, 1924-2006","English"],"unitid_tesim":["07.0117","/repositories/10/resources/926"],"normalized_date_ssm":["1942-1946, Date acquired: 10/16/2007"],"normalized_title_ssm":["Dorothy Marshman Fredrickson papers, 1942-1946, Date acquired: 10/16/2007"],"collection_title_tesim":["Dorothy Marshman Fredrickson papers, 1942-1946, Date acquired: 10/16/2007"],"collection_ssim":["Dorothy Marshman Fredrickson papers, 1942-1946, Date acquired: 10/16/2007"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"geogname_ssm":["Deposit (N.Y.)","New York (N.Y.)","San Francisco (Calif.)","Bronx (New York, N.Y.)"],"geogname_ssim":["Deposit (N.Y.)","New York (N.Y.)","San Francisco (Calif.)","Bronx (New York, N.Y.)"],"creator_ssm":["Fredrickson, Dorothy Marshman, 1924-2006"],"creator_ssim":["Fredrickson, Dorothy Marshman, 1924-2006"],"creator_persname_ssim":["Fredrickson, Dorothy Marshman, 1924-2006"],"creators_ssim":["Fredrickson, Dorothy Marshman, 1924-2006"],"places_ssim":["Deposit (N.Y.)","New York (N.Y.)","San Francisco (Calif.)","Bronx (New York, N.Y.)"],"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."],"access_subjects_ssim":["Women--Employment","World War, 1939-1945--Personal narratives","World War, 1939-1945","World War, 1939-1945--Women","World War, 1939-1945--United States","World War, 1939-1945--Personal narratives, American","World War, 1939-1945--Women--United States","United States. Navy--Postal service","United States. Navy--Women"],"access_subjects_ssm":["Women--Employment","World War, 1939-1945--Personal narratives","World War, 1939-1945","World War, 1939-1945--Women","World War, 1939-1945--United States","World War, 1939-1945--Personal narratives, American","World War, 1939-1945--Women--United States","United States. Navy--Postal service","United States. Navy--Women"],"has_online_content_ssim":["false"],"extent_ssm":["1 boxes"],"extent_tesim":["1 boxes"],"date_range_isim":[1942,1943,1944,1945,1946,2007],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers."],"bioghist_html_tesm":["\u003cp\u003eDorothy Jane Marshman Fredrickson was born on July 15, 1924, in Deposit, New York, to Helen Pearsall Martin and William Daniel Marshman. Her father served in the Navy during both World Wars and was declared missing in action, later presumed dead, following the destruction of the USS \u003cemph render=\"italic\"\u003eBarton \u003c/emph\u003eduring the Naval Battle of Guadalcanal in 1942. In June of 1942, she graduated from Deposit Central High School. She then worked in the research laboratory of the American Casein Company (now known as AMCO Proteins) in Bainbridge, New York. Fredrickson enlisted as a WAVE in Birmingham in honor of her father shortly after her 20th birthday in July of 1943. She was sworn in in Rochester in late July.\u003c/p\u003e\n","\u003cp\u003e\u003cbr\u003e\u003cbr\u003eFredrickson received training at Hunter College in the Bronx, New York. She was assigned to the Pacific Fleet Post Office in San Francisco, California, where she worked as a section leader. She served there for the duration of the war. After the war she used the G.I. Bill to attend Cornell University. She majored in Biology as a pre-veterinary medicine program. She was honorably discharged in April 1946. On August 30, 1948, she married Elwood Harry Fredrickson.\u003c/p\u003e\n","\u003cp\u003e\u003cbr\u003e\u003cbr\u003eFredrickson passed away on May 22, 2006.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Dorothy Jane Marshman Fredrickson was born on July 15, 1924, in Deposit, New York, to Helen Pearsall Martin and William Daniel Marshman. Her father served in the Navy during both World Wars and was declared missing in action, later presumed dead, following the destruction of the USS  Barton  during the Naval Battle of Guadalcanal in 1942. In June of 1942, she graduated from Deposit Central High School. She then worked in the research laboratory of the American Casein Company (now known as AMCO Proteins) in Bainbridge, New York. Fredrickson enlisted as a WAVE in Birmingham in honor of her father shortly after her 20th birthday in July of 1943. She was sworn in in Rochester in late July.","Fredrickson received training at Hunter College in the Bronx, New York. She was assigned to the Pacific Fleet Post Office in San Francisco, California, where she worked as a section leader. She served there for the duration of the war. After the war she used the G.I. Bill to attend Cornell University. She majored in Biology as a pre-veterinary medicine program. She was honorably discharged in April 1946. On August 30, 1948, she married Elwood Harry Fredrickson.","Fredrickson passed away on May 22, 2006."],"custodhist_html_tesm":["\u003cp\u003eTransferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026amp; Archives in July 2022.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Transferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026 Archives in July 2022."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], [Box and Folder number], Dorothy Marshman Fredrickson papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/WWII_07_0117\"\u003ehttp://purl.fcla.edu/fsu/WWII_07_0117\u003c/extref\u003e.\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], [Box and Folder number], Dorothy Marshman Fredrickson papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/WWII_07_0117 ."],"relatedmaterial_html_tesm":["\u003cp\u003eOther collections held by the Institute on World War II and the Human Experience that are pertinent to this collection are the William Daniel Marshman collection (07.0115) and the Elwood Harry Fredrickson papers (07.0116).\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Other collections held by the Institute on World War II and the Human Experience that are pertinent to this collection are the William Daniel Marshman collection (07.0115) and the Elwood Harry Fredrickson papers (07.0116)."],"scopecontent_html_tesm":["\u003cp\u003eThis collection pertains to Dorothy Marshman Fredrickson who served as a WAVE at the United States Navy Fleet Post Office in San Francisco, California. The collection contains letters from Fredrickson to her mother and sister. There are also photocopies of scrapbook pages as well as leisure photographs, newspaper clippings, greeting cards, menus, ticket stubs, railroad timetables, playbills, and show programs from the scrapbooks. The collection also contains periodicals and other publications from various sources, most concerning the Navy and/or WAVES, and WAVES rules and regulations handbooks.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection pertains to Dorothy Marshman Fredrickson who served as a WAVE at the United States Navy Fleet Post Office in San Francisco, California. The collection contains letters from Fredrickson to her mother and sister. There are also photocopies of scrapbook pages as well as leisure photographs, newspaper clippings, greeting cards, menus, ticket stubs, railroad timetables, playbills, and show programs from the scrapbooks. The collection also contains periodicals and other publications from various sources, most concerning the Navy and/or WAVES, and WAVES rules and regulations handbooks."],"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_coll_ssim":["Hunter College","United States. Naval Reserve. Women's Reserve"],"names_ssim":["FSU Special Collections \u0026 Archives","Hunter College","United States. Naval Reserve. Women's Reserve","Fredrickson, Dorothy Marshman, 1924-2006"],"corpname_ssim":["FSU Special Collections \u0026 Archives","Hunter College","United States. Naval Reserve. Women's Reserve"],"persname_ssim":["Fredrickson, Dorothy Marshman, 1924-2006"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":44,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"8e8eb767b10f9dd7d311ef05","timestamp":"2026-07-08T13:09:40.720Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/8e8eb767b10f9dd7d311ef05_aspace_210674"}},{"id":"8a59a7d5170b598adb3047fc_aspace_185976","type":"Item","attributes":{"title":"Woods Cross High School, 1981","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/8a59a7d5170b598adb3047fc_aspace_185976#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eJob Number 2170. Evan's Supply INC. Utah. 7 sheets.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/8a59a7d5170b598adb3047fc_aspace_185976#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_185976","ref_ssm":["aspace_185976","aspace_185976"],"id":"8a59a7d5170b598adb3047fc_aspace_185976","title_filing_ssi":"Woods Cross High School","title_ssm":["Woods Cross High School"],"title_tesim":["Woods Cross High School"],"unitdate_other_ssim":["1981"],"normalized_date_ssm":["1981"],"normalized_title_ssm":["Woods Cross High School, 1981"],"text":["Woods Cross High School, 1981","J. R. Clancy Collection, 1911-1999, Date acquired: 01/01/2010","Job Drawings","Roll 42","Item 23","/repositories/10/archival_objects/40423","Job Number 2170. Evan's Supply INC. 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