{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19215","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19214","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19216","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19301"},"meta":{"pages":{"current_page":19215,"next_page":19216,"prev_page":19214,"total_pages":19301,"limit_value":10,"offset_value":192140,"total_count":193001,"first_page?":false,"last_page?":false}},"data":[{"id":"1fb60b2a237557e58ed95300_aspace_0344684a1a94d4997d3394e4fe90cb6d","type":"Item","attributes":{"title":"Yema","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300_aspace_0344684a1a94d4997d3394e4fe90cb6d#abstract_or_scope","type":"document_value","attributes":{"value":["Imagery of two female figures and a cigar."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300_aspace_0344684a1a94d4997d3394e4fe90cb6d#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_0344684a1a94d4997d3394e4fe90cb6d","ref_ssm":["aspace_0344684a1a94d4997d3394e4fe90cb6d","aspace_0344684a1a94d4997d3394e4fe90cb6d"],"id":"1fb60b2a237557e58ed95300_aspace_0344684a1a94d4997d3394e4fe90cb6d","title_filing_ssi":"Yema\n","title_ssm":["Yema\n"],"title_tesim":["Yema\n"],"normalized_title_ssm":["Yema"],"text":["Yema","Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","Box 1","212","/repositories/2/archival_objects/85022","Spanish; Castilian","box 1","object 212","Imagery of two female figures and a cigar."],"component_level_isim":[2],"parent_ids_ssim":["1fb60b2a237557e58ed95300","1fb60b2a237557e58ed95300_aspace_dedc9a532302b33be555e381112dca48"],"parent_unittitles_ssm":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","Box 1"],"parent_unittitles_tesim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","Box 1"],"parent_levels_ssm":["collection","Box 1"],"unitid_ssm":["212","/repositories/2/archival_objects/85022"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":212,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"language_ssim":["Spanish; Castilian"],"containers_ssim":["box 1","object 212"],"abstract_html_tesm":["\u003cabstract id=\"aspace_cd936682f8667d5a58c4ee7ebe4508b6\"\u003eImagery of two female figures and a cigar.\u003c/abstract\u003e"],"abstract_tesim":["Imagery of two female figures and a cigar."],"_nest_path_":"/components#0/components#210","_nest_parent_":"1fb60b2a237557e58ed95300_aspace_dedc9a532302b33be555e381112dca48","_root_":"1fb60b2a237557e58ed95300","_version_":1870844493513621504,"timestamp":"2026-07-16T04:32:23.451Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1fb60b2a237557e58ed95300","title_ssm":["Cigar Label Collection"],"title_tesim":["Cigar Label Collection"],"ead_ssi":"1fb60b2a237557e58ed95300","unitdate_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"unitdate_inclusive_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC6005","/repositories/2/resources/127"],"text":["SPC6005","/repositories/2/resources/127","Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","The collection is open for research.","Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros.","Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.","The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos.","Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.","Collection of cigar labels from the late 19th century to the early 20th century.","FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)","Spanish; Castilian"],"unitid_tesim":["SPC6005","/repositories/2/resources/127"],"normalized_date_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"normalized_title_ssm":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_title_tesim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_ssim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"has_online_content_ssim":["false"],"extent_ssm":["217 items"],"extent_tesim":["217 items"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eOmar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. \u003c/p\u003e\n","\u003cp\u003eWith the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.\u003c/p\u003e\n","\u003cp\u003eAmong the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company, and M.M. Sevis \u0026amp; Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026amp; Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026amp; Company and M.M. Sevis \u0026amp; Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. \u003c/p\u003e\n","\u003cp\u003eThe important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. \u003c/p\u003e\n","\u003cp\u003eThe multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. \u003c/p\u003e\n","\u003cp\u003e\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colecci\u0026#xF3;n de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitograf\u0026#xED;a. Su pasi\u0026#xF3;n por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colecci\u0026#xF3;n.\u003c/p\u003e\n","\u003cp\u003eEstas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este per\u0026#xED;odo. Con el auge de la cromolitograf\u0026#xED;a, que revolucion\u0026#xF3; la producci\u0026#xF3;n de etiquetas en todo el mundo, se permiti\u0026#xF3; la creaci\u0026#xF3;n de dise\u0026#xF1;os ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que tambi\u0026#xE9;n serv\u0026#xED;an como una estrategia de marketing crucial para demostrar la calidad y el artesanado detr\u0026#xE1;s de estos cigarros. Con una colecci\u0026#xF3;n que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio art\u0026#xED;stico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional m\u0026#xE1;s amplio del consumo de cigarros.\u003c/p\u003e\n","\u003cp\u003eEntre los destacados fabricantes que aparecen en esta colecci\u0026#xF3;n de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company y M.M. Sevis \u0026amp; Sons, entre otras peque\u0026#xF1;as empresas menos conocidas. Cada una de estas compa\u0026#xF1;\u0026#xED;as contribuy\u0026#xF3; de manera \u0026#xFA;nica a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes dise\u0026#xF1;os que generalmente incorporaban motivos florales y temas cl\u0026#xE1;sicos, mientras que F. Garcia \u0026amp; Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de im\u0026#xE1;genes audaces y llamativas. Tanto Alfonso Rios \u0026amp; Company como M.M. Sevis \u0026amp; Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginer\u0026#xED;a visual a trav\u0026#xE9;s de etiquetas, utilizando s\u0026#xED;mbolos locales y estilos iconogr\u0026#xE1;ficos art\u0026#xED;sticos que resonaban con los consumidores, tanto nacionales como internacionales.\u003c/p\u003e\n","\u003cp\u003eEl importante papel de los lit\u0026#xF3;grafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compa\u0026#xF1;\u0026#xED;as como la American Lithographic Company y la Klingenberg Detmond Company desempe\u0026#xF1;aron un papel fundamental en la producci\u0026#xF3;n de etiquetas cromolitogr\u0026#xE1;ficas de alta calidad que se volver\u0026#xED;an ic\u0026#xF3;nicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atenci\u0026#xF3;n al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hac\u0026#xED;a destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos m\u0026#xE1;s, que aportaron sus propias t\u0026#xE9;cnicas \u0026#xFA;nicas y capacidades art\u0026#xED;sticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compa\u0026#xF1;\u0026#xED;a Litogr\u0026#xE1;fica de La Habana enriqueci\u0026#xF3; a\u0026#xFA;n m\u0026#xE1;s la oferta al enfocarse en dise\u0026#xF1;os que reflejaban la identidad cubana, integrando tradiciones art\u0026#xED;sticas locales con m\u0026#xE9;todos de impresi\u0026#xF3;n contempor\u0026#xE1;neos.\u003c/p\u003e\n","\u003cp\u003eEl aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos or\u0026#xED;genes, mejorando as\u0026#xED; la reputaci\u0026#xF3;n de los cigarros como s\u0026#xED;mbolo de sofisticaci\u0026#xF3;n y estatus. Las etiquetas a menudo presentaban idiomas como espa\u0026#xF1;ol, ingl\u0026#xE9;s, franc\u0026#xE9;s, alem\u0026#xE1;n y muchos m\u0026#xE1;s, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitogr\u0026#xE1;ficas cuentan una rica historia cultural, fusionando la artesan\u0026#xED;a art\u0026#xED;stica con las din\u0026#xE1;micas econ\u0026#xF3;micas y sociales de sus respectivos per\u0026#xED;odos. Se mantendr\u0026#xE1;n como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracci\u0026#xF3;n y est\u0026#xE9;tica de sus cigarros.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros."],"relatedmaterial_html_tesm":["\u003cp\u003eOsterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/."],"scopecontent_html_tesm":["\u003cp\u003eThe Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.\u003c/p\u003e\n","\u003cp\u003e\nLa Colecci\u0026#xF3;n de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colecci\u0026#xF3;n abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitograf\u0026#xED;a. La colecci\u0026#xF3;n contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos art\u0026#xED;sticos que definieron la edad dorada de la industria. Destaca la intrincada artesan\u0026#xED;a de las litograf\u0026#xED;as de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindar\u0026#xED;a a los investigadores la oportunidad de observar el delicado proceso de la imaginer\u0026#xED;a litogr\u0026#xE1;fica en la fabricaci\u0026#xF3;n y comercializaci\u0026#xF3;n de cigarros cubanos.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos."],"userestrict_html_tesm":["\u003cp\u003eRights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7de0ce202f1579f9c58731ee3ee794be\"\u003eCollection of cigar labels from the late 19th century to the early 20th century.\u003c/abstract\u003e"],"abstract_tesim":["Collection of cigar labels from the late 19th century to the early 20th century."],"names_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"corpname_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"language_ssim":["Spanish; Castilian"],"total_component_count_is":217,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844493513621504,"_root_":"1fb60b2a237557e58ed95300","timestamp":"2026-07-16T04:32:23.451Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300_aspace_0344684a1a94d4997d3394e4fe90cb6d"}},{"id":"2326334e5e159c8d459e96a3_aspace_37965","type":"Item","attributes":{"title":"\"Ye money or ye life!\", \"S-s-say, aren't you Robin Hood?!\", \"No - I'm his brother, Robin The Hood!!\", September 7, 1988.","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2326334e5e159c8d459e96a3_aspace_37965#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_37965","ref_ssm":["aspace_37965","aspace_37965"],"id":"2326334e5e159c8d459e96a3_aspace_37965","title_filing_ssi":"\"Ye money or ye life!\", \"S-s-say, aren't you Robin Hood?!\", \"No - I'm his brother, Robin The Hood!!\"","title_ssm":["\"Ye money or ye life!\", \"S-s-say, aren't you Robin Hood?!\", \"No - I'm his brother, Robin The Hood!!\""],"title_tesim":["\"Ye money or ye life!\", \"S-s-say, aren't you Robin Hood?!\", \"No - I'm his brother, Robin The Hood!!\""],"unitdate_other_ssim":["September 7, 1988."],"normalized_date_ssm":["September 7, 1988."],"normalized_title_ssm":["\"Ye money or ye life!\", \"S-s-say, aren't you Robin Hood?!\", \"No - I'm his brother, Robin The Hood!!\", September 7, 1988."],"text":["\"Ye money or ye life!\", \"S-s-say, aren't you Robin Hood?!\", \"No - I'm his brother, Robin The Hood!!\", September 7, 1988.","Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Doppelgängers, 1987-1988, 1990, Undated.","Comic Strips (Templates), 1987-1988, 2000, Undated.","Item 9","/repositories/4/archival_objects/2823","box 8","folder 5"],"component_level_isim":[5],"parent_ids_ssim":["2326334e5e159c8d459e96a3","2326334e5e159c8d459e96a3_aspace_37101","2326334e5e159c8d459e96a3_aspace_37826","2326334e5e159c8d459e96a3_aspace_37827","2326334e5e159c8d459e96a3_aspace_37899"],"parent_unittitles_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Doppelgängers, 1987-1988, 1990, Undated.","Comic Strips (Templates), 1987-1988, 2000, Undated."],"parent_unittitles_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Doppelgängers, 1987-1988, 1990, Undated.","Comic Strips (Templates), 1987-1988, 2000, Undated."],"parent_levels_ssm":["collection","Series","Subseries","Subseries","File"],"unitid_ssm":["Item 9","/repositories/4/archival_objects/2823"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":795,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"containers_ssim":["box 8","folder 5"],"_nest_path_":"/components#0/components#1/components#0/components#3/components#62","_nest_parent_":"2326334e5e159c8d459e96a3_aspace_37899","_root_":"2326334e5e159c8d459e96a3","_version_":1870857743444738048,"timestamp":"2026-07-16T08:02:59.476Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2326334e5e159c8d459e96a3","title_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art"],"title_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art"],"ead_ssi":"2326334e5e159c8d459e96a3","unitdate_ssm":["1955-2013","1970-2013"],"unitdate_bulk_ssim":["1970-2013"],"unitdate_inclusive_ssm":["1955-2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.094","/repositories/4/resources/12"],"text":["SC.094","/repositories/4/resources/12","Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Florida -- Politics and government -- Caricatures and cartoons","Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida","The entire collection is open for research.","Glenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.","\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogotá, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.","\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelgängers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.","\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelgängers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.","\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects.","Collection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.","All materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order.","Glenn \"Marty\" Stein cartoons at the Library of Congress:  GMS cartoons at the Library of Congress","\nGlenn \"Marty\" Stein cartoons at the University of South Florida:  Art of the Poison Pens: A Century of American Political Cartoons","\nThe Ohio State University, Libraries:  Glenn (Marty) Stein Biographical File","Collection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.","\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelgängers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.","\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.","\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. ","\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).","\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC).","Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder.","The collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8½ years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3½ years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955).","UCF Special Collections","Stein, Glenn M., 1962-","English"],"unitid_tesim":["SC.094","/repositories/4/resources/12"],"normalized_date_ssm":["1955-2013, bulk 1970-2013"],"normalized_title_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"collection_title_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"collection_ssim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida -- Politics and government -- Caricatures and cartoons"],"geogname_ssim":["Florida -- Politics and government -- Caricatures and cartoons"],"places_ssim":["Florida -- Politics and government -- Caricatures and cartoons"],"access_terms_ssm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["The materials were donated to the University of Central Florida Special Collections by Glenn \"Marty\" Stein in 2013 (CFM2013_04)."],"access_subjects_ssim":["Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida"],"access_subjects_ssm":["Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["8 Linear Feet 17 Boxes, 1 Flat File, 67 Digital Files"],"extent_tesim":["8 Linear Feet 17 Boxes, 1 Flat File, 67 Digital Files"],"date_range_isim":[1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eGlenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.\u003c/p\u003e\n","\u003cp\u003e\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogot\u0026#xE1;, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.\u003c/p\u003e\n","\u003cp\u003e\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelg\u0026#xE4;ngers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.\u003c/p\u003e\n","\u003cp\u003e\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelg\u0026#xE4;ngers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.\u003c/p\u003e\n","\u003cp\u003e\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Glenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.","\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogotá, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.","\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelgängers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.","\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelgängers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.","\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects."],"prefercite_html_tesm":["\u003cp\u003eGlenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.\u003c/p\u003e","\u003cp\u003eAll materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.","All materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order."],"relatedmaterial_html_tesm":["\u003cp\u003eGlenn \"Marty\" Stein cartoons at the Library of Congress: \u003cextref href=\"http://www.loc.gov/pictures/search/?q=stein%2C%20glenn%20m\"\u003eGMS cartoons at the Library of Congress\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\nGlenn \"Marty\" Stein cartoons at the University of South Florida: \u003cextref href=\"http://exhibits.lib.usf.edu/exhibits/show/poison-pens/new-millennium/stein\"\u003eArt of the Poison Pens: A Century of American Political Cartoons\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\nThe Ohio State University, Libraries: \u003cextref href=\"http://library.ohio-state.edu/record=b6830269~S7\"\u003eGlenn (Marty) Stein Biographical File\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Glenn \"Marty\" Stein cartoons at the Library of Congress:  GMS cartoons at the Library of Congress","\nGlenn \"Marty\" Stein cartoons at the University of South Florida:  Art of the Poison Pens: A Century of American Political Cartoons","\nThe Ohio State University, Libraries:  Glenn (Marty) Stein Biographical File"],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.\u003c/p\u003e\n","\u003cp\u003e\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelg\u0026#xE4;ngers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. \u003c/p\u003e\n","\u003cp\u003e\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC).\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Collection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.","\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelgängers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.","\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.","\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. ","\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).","\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC)."],"userestrict_html_tesm":["\u003cp\u003eUnpublished records 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 records 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_79c7f7749bbd2323aa47f5f32d6c812f\" label=\"Abstract\"\u003eThe collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8\u0026#xBD; years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3\u0026#xBD; years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955).\u003c/abstract\u003e"],"abstract_tesim":["The collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8½ years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3½ years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955)."],"names_ssim":["UCF Special Collections","Stein, Glenn M., 1962-"],"corpname_ssim":["UCF Special Collections"],"names_coll_ssim":["Stein, Glenn M., 1962-"],"persname_ssim":["Stein, Glenn M., 1962-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1521,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857743444738048,"_root_":"2326334e5e159c8d459e96a3","timestamp":"2026-07-16T08:02:59.476Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2326334e5e159c8d459e96a3_aspace_37965"}},{"id":"1a425ac711c8eee0ce80816a_aspace_119770","type":"Item","attributes":{"title":"Yente Telebende for voice and piano, 1922","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/1a425ac711c8eee0ce80816a_aspace_119770#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003e1 score (5 pages)\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1a425ac711c8eee0ce80816a_aspace_119770#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_119770","ref_ssm":["aspace_119770","aspace_119770"],"id":"1a425ac711c8eee0ce80816a_aspace_119770","title_filing_ssi":"Yente Telebende for voice and piano","title_ssm":["Yente Telebende for voice and piano"],"title_tesim":["Yente Telebende for voice and piano"],"unitdate_other_ssim":["1922"],"normalized_date_ssm":["1922"],"normalized_title_ssm":["Yente Telebende for voice and piano, 1922"],"text":["Yente Telebende for voice and piano, 1922","Cantor Irving Obstbaum Collection, 1910-1963, bulk 1910-1963","Series 1","Folder 41","Item 1","/repositories/2/archival_objects/29264","Good","Musical Score","5","Yente Telebende for voice and piano","For voice and piano","Sung by Mrs. Jacobs","J. 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It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"language_ssim":["Yente Telebende for voice and piano"],"arrangement_html_tesm":["\u003cp\u003eFor voice and piano\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["For voice and piano"],"bioghist_html_tesm":["\u003cp\u003eSung by Mrs. Jacobs\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical Note"],"bioghist_tesim":["Sung by Mrs. Jacobs"],"odd_html_tesm":["\u003cp\u003eJ. Jacobs\u003c/p\u003e","\u003cp\u003eL. Cohen\u003c/p\u003e","\u003cp\u003eThe Candy Kid vocal score is in the back of the sheet music\u003c/p\u003e","\u003cp\u003eVocal Score with piano\u003c/p\u003e","\u003cp\u003eL. Cohen\u003c/p\u003e","\u003cp\u003eGoldberg and Jacobs Amusement Company\u003c/p\u003e","\u003cp\u003eNew York, New York\u003c/p\u003e"],"odd_heading_ssm":["Lyricist","Composer","Note","Score Description","Creator","Publisher","Place"],"odd_tesim":["J. 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Cohen","Goldberg and Jacobs Amusement Company","New York, New York"],"originalsloc_html_tesm":["\u003cp\u003eOriginal\u003c/p\u003e"],"originalsloc_heading_ssm":["Originals or Copies Note"],"originalsloc_tesim":["Original"],"scopecontent_html_tesm":["\u003cp\u003e1 score (5 pages)\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["1 score (5 pages)"],"separatedmaterial_html_tesm":["\u003cp\u003eYiddish\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Language"],"separatedmaterial_tesim":["Yiddish"],"_nest_path_":"/components#0/components#374/components#0","_nest_parent_":"1a425ac711c8eee0ce80816a_aspace_119769","_root_":"1a425ac711c8eee0ce80816a","_version_":1870842150268174336,"timestamp":"2026-07-16T03:55:08.674Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1a425ac711c8eee0ce80816a","title_ssm":["Cantor Irving Obstbaum Collection"],"title_tesim":["Cantor Irving Obstbaum Collection"],"ead_ssi":"1a425ac711c8eee0ce80816a","unitdate_ssm":["1910-1963","1910-1963"],"unitdate_bulk_ssim":["1910-1963"],"unitdate_inclusive_ssm":["1910-1963"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["PMC00026","/repositories/2/resources/78"],"text":["PMC00026","/repositories/2/resources/78","Cantor Irving Obstbaum Collection, 1910-1963, bulk 1910-1963","Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment. ","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","James Drayton processed this collection in 2018.","The collection of Cantor Irving Obstbaum consists of manuscript music, print music, personal songbooks, personal papers, programs, and pictures relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Audio recordings have been relocated to Judaica Sound Archives.  Cantor Irving Obstbaum served the congregation of Temple Beth-El in New York for over 40 years.  Along with his responsibilities to his congregation, he served as Executive Director of the Jewish Ministers Cantors' Association that helped find and place other qualified cantors to other Temples. He was also well known for giving lectures and sermons on various Jewish and Hebrew musical topics throughout New York.","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections.","Florida Atlantic University Libraries","English Hebrew Yiddish"],"unitid_tesim":["PMC00026","/repositories/2/resources/78"],"normalized_date_ssm":["1910-1963, bulk 1910-1963"],"normalized_title_ssm":["Cantor Irving Obstbaum Collection, 1910-1963, bulk 1910-1963"],"collection_title_tesim":["Cantor Irving Obstbaum Collection, 1910-1963, bulk 1910-1963"],"collection_ssim":["Cantor Irving Obstbaum Collection, 1910-1963, bulk 1910-1963"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"access_terms_ssm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. 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Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["1.00 Linear Feet"],"extent_tesim":["1.00 Linear Feet"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. 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In addition, selected materials are digitized and available electronically through the Digital Library."],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida."],"processinfo_html_tesm":["\u003cp\u003eJames Drayton processed this collection in 2018.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["James Drayton processed this collection in 2018."],"scopecontent_html_tesm":["\u003cp\u003eThe collection of Cantor Irving Obstbaum consists of manuscript music, print music, personal songbooks, personal papers, programs, and pictures relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Audio recordings have been relocated to Judaica Sound Archives.\u0026#xA0; Cantor Irving Obstbaum served the congregation of Temple Beth-El in New York for over 40 years.\u0026#xA0; Along with his responsibilities to his congregation, he served as Executive Director of the Jewish Ministers Cantors' Association that helped find and place other qualified cantors to other Temples. He was also well known for giving lectures and sermons on various Jewish and Hebrew musical topics throughout New York.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection of Cantor Irving Obstbaum consists of manuscript music, print music, personal songbooks, personal papers, programs, and pictures relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. 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Also, If the researcher desires to reuse material for commercial use, please contact Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"names_ssim":["Florida Atlantic University Libraries"],"corpname_ssim":["Florida Atlantic University Libraries"],"language_ssim":["English Hebrew Yiddish"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":827,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870842150268174336,"_root_":"1a425ac711c8eee0ce80816a","timestamp":"2026-07-16T03:55:08.674Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1a425ac711c8eee0ce80816a_aspace_119770"}},{"id":"c56aab442b34ccc24cb98200_aspace_217891","type":"Item","attributes":{"title":"Yentl / [theatre program]., 1976","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/c56aab442b34ccc24cb98200_aspace_217891#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eTitle devised by library staff.|Cast: Tovah Feldshuh, Hy Anzell, Robin Bartlett, Blanche Dee, David Eric, Elaine Grollman.|Director: Robert Kalfin.|Eugene O'Neill Theatre.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/c56aab442b34ccc24cb98200_aspace_217891#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_217891","ref_ssm":["aspace_217891","aspace_217891"],"id":"c56aab442b34ccc24cb98200_aspace_217891","title_filing_ssi":"Yentl / [theatre program].","title_ssm":["Yentl / [theatre program]."],"title_tesim":["Yentl / [theatre program]."],"unitdate_other_ssim":["1976"],"normalized_date_ssm":["1976"],"normalized_title_ssm":["Yentl / [theatre program]., 1976"],"text":["Yentl / [theatre program]., 1976","Degen Playbill Collection, 1895-2023","Item 21","/repositories/8/archival_objects/27802","box 1976 VOL 4","Title devised by library staff.|Cast: Tovah Feldshuh, Hy Anzell, Robin Bartlett, Blanche Dee, David Eric, Elaine Grollman.|Director: Robert Kalfin.|Eugene O'Neill Theatre."],"component_level_isim":[1],"parent_ids_ssim":["c56aab442b34ccc24cb98200"],"parent_unittitles_ssm":["Degen Playbill Collection, 1895-2023"],"parent_unittitles_tesim":["Degen Playbill Collection, 1895-2023"],"parent_levels_ssm":["collection"],"unitid_ssm":["Item 21","/repositories/8/archival_objects/27802"],"repository_ssim":["The John A. 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The collection consists of playbills of productions from all over the world beginning in 1873. The Degen Resource Room is continuing to catalog this massive collection, so the entire scope of this collection cannot yet be assessed. However, it is estimated that we hold one of the premiere playbill collections in the nation. As cataloging continues to take place, we will be able to ascertain the extent of this very special and unique collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Degen Resource Room has an extensive historic playbill collection. The collection consists of playbills of productions from all over the world beginning in 1873. The Degen Resource Room is continuing to catalog this massive collection, so the entire scope of this collection cannot yet be assessed. However, it is estimated that we hold one of the premiere playbill collections in the nation. As cataloging continues to take place, we will be able to ascertain the extent of this very special and unique collection."],"names_ssim":["The John A. Degen Resource Room at FSU"],"corpname_ssim":["The John A. Degen Resource Room at FSU"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":7503,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"c56aab442b34ccc24cb98200","timestamp":"2026-07-11T02:37:06.587Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/c56aab442b34ccc24cb98200_aspace_217891"}},{"id":"2326334e5e159c8d459e96a3_aspace_38023","type":"Item","attributes":{"title":"\"Yep, That's the king...But he's just a figurehead\", February 26, 1998.","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2326334e5e159c8d459e96a3_aspace_38023#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_38023","ref_ssm":["aspace_38023","aspace_38023"],"id":"2326334e5e159c8d459e96a3_aspace_38023","title_filing_ssi":"\"Yep, That's the king...But he's just a figurehead\"","title_ssm":["\"Yep, That's the king...But he's just a figurehead\""],"title_tesim":["\"Yep, That's the king...But he's just a figurehead\""],"unitdate_other_ssim":["February 26, 1998."],"normalized_date_ssm":["February 26, 1998."],"normalized_title_ssm":["\"Yep, That's the king...But he's just a figurehead\", February 26, 1998."],"text":["\"Yep, That's the king...But he's just a figurehead\", February 26, 1998.","Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Dr. Roget, 1991-2003, Undated.","Cartoon Artworks, 1992-2003, Undated.","Item 27","/repositories/4/archival_objects/2261","box 9","folder 1"],"component_level_isim":[5],"parent_ids_ssim":["2326334e5e159c8d459e96a3","2326334e5e159c8d459e96a3_aspace_37101","2326334e5e159c8d459e96a3_aspace_37826","2326334e5e159c8d459e96a3_aspace_37993","2326334e5e159c8d459e96a3_aspace_37994"],"parent_unittitles_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Dr. Roget, 1991-2003, Undated.","Cartoon Artworks, 1992-2003, Undated."],"parent_unittitles_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Dr. Roget, 1991-2003, Undated.","Cartoon Artworks, 1992-2003, Undated."],"parent_levels_ssm":["collection","Series","Subseries","Subseries","File"],"unitid_ssm":["Item 27","/repositories/4/archival_objects/2261"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":851,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"containers_ssim":["box 9","folder 1"],"_nest_path_":"/components#0/components#1/components#1/components#0/components#26","_nest_parent_":"2326334e5e159c8d459e96a3_aspace_37994","_root_":"2326334e5e159c8d459e96a3","_version_":1870857743444738048,"timestamp":"2026-07-16T08:02:59.476Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2326334e5e159c8d459e96a3","title_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art"],"title_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art"],"ead_ssi":"2326334e5e159c8d459e96a3","unitdate_ssm":["1955-2013","1970-2013"],"unitdate_bulk_ssim":["1970-2013"],"unitdate_inclusive_ssm":["1955-2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.094","/repositories/4/resources/12"],"text":["SC.094","/repositories/4/resources/12","Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Florida -- Politics and government -- Caricatures and cartoons","Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida","The entire collection is open for research.","Glenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.","\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogotá, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.","\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelgängers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.","\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelgängers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.","\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects.","Collection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.","All materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order.","Glenn \"Marty\" Stein cartoons at the Library of Congress:  GMS cartoons at the Library of Congress","\nGlenn \"Marty\" Stein cartoons at the University of South Florida:  Art of the Poison Pens: A Century of American Political Cartoons","\nThe Ohio State University, Libraries:  Glenn (Marty) Stein Biographical File","Collection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.","\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelgängers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.","\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.","\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. ","\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).","\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC).","Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder.","The collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8½ years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3½ years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955).","UCF Special Collections","Stein, Glenn M., 1962-","English"],"unitid_tesim":["SC.094","/repositories/4/resources/12"],"normalized_date_ssm":["1955-2013, bulk 1970-2013"],"normalized_title_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"collection_title_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"collection_ssim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida -- Politics and government -- Caricatures and cartoons"],"geogname_ssim":["Florida -- Politics and government -- Caricatures and cartoons"],"places_ssim":["Florida -- Politics and government -- Caricatures and cartoons"],"access_terms_ssm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["The materials were donated to the University of Central Florida Special Collections by Glenn \"Marty\" Stein in 2013 (CFM2013_04)."],"access_subjects_ssim":["Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida"],"access_subjects_ssm":["Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["8 Linear Feet 17 Boxes, 1 Flat File, 67 Digital Files"],"extent_tesim":["8 Linear Feet 17 Boxes, 1 Flat File, 67 Digital Files"],"date_range_isim":[1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eGlenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.\u003c/p\u003e\n","\u003cp\u003e\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogot\u0026#xE1;, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.\u003c/p\u003e\n","\u003cp\u003e\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelg\u0026#xE4;ngers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.\u003c/p\u003e\n","\u003cp\u003e\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelg\u0026#xE4;ngers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.\u003c/p\u003e\n","\u003cp\u003e\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Glenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.","\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogotá, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.","\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelgängers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.","\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelgängers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.","\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects."],"prefercite_html_tesm":["\u003cp\u003eGlenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.\u003c/p\u003e","\u003cp\u003eAll materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.","All materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order."],"relatedmaterial_html_tesm":["\u003cp\u003eGlenn \"Marty\" Stein cartoons at the Library of Congress: \u003cextref href=\"http://www.loc.gov/pictures/search/?q=stein%2C%20glenn%20m\"\u003eGMS cartoons at the Library of Congress\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\nGlenn \"Marty\" Stein cartoons at the University of South Florida: \u003cextref href=\"http://exhibits.lib.usf.edu/exhibits/show/poison-pens/new-millennium/stein\"\u003eArt of the Poison Pens: A Century of American Political Cartoons\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\nThe Ohio State University, Libraries: \u003cextref href=\"http://library.ohio-state.edu/record=b6830269~S7\"\u003eGlenn (Marty) Stein Biographical File\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Glenn \"Marty\" Stein cartoons at the Library of Congress:  GMS cartoons at the Library of Congress","\nGlenn \"Marty\" Stein cartoons at the University of South Florida:  Art of the Poison Pens: A Century of American Political Cartoons","\nThe Ohio State University, Libraries:  Glenn (Marty) Stein Biographical File"],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.\u003c/p\u003e\n","\u003cp\u003e\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelg\u0026#xE4;ngers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. \u003c/p\u003e\n","\u003cp\u003e\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC).\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Collection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.","\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelgängers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.","\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.","\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. ","\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).","\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC)."],"userestrict_html_tesm":["\u003cp\u003eUnpublished records 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 records 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_79c7f7749bbd2323aa47f5f32d6c812f\" label=\"Abstract\"\u003eThe collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8\u0026#xBD; years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3\u0026#xBD; years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955).\u003c/abstract\u003e"],"abstract_tesim":["The collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8½ years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3½ years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955)."],"names_ssim":["UCF Special Collections","Stein, Glenn M., 1962-"],"corpname_ssim":["UCF Special Collections"],"names_coll_ssim":["Stein, Glenn M., 1962-"],"persname_ssim":["Stein, Glenn M., 1962-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1521,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857743444738048,"_root_":"2326334e5e159c8d459e96a3","timestamp":"2026-07-16T08:02:59.476Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2326334e5e159c8d459e96a3_aspace_38023"}},{"id":"8a59a7d5170b598adb3047fc_aspace_188122","type":"Item","attributes":{"title":"Yerba Buena Theatre, 1993","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/8a59a7d5170b598adb3047fc_aspace_188122#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eJob Number 16175. Sumitomo Construction. SF, CA. 9 sheets.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/8a59a7d5170b598adb3047fc_aspace_188122#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_188122","ref_ssm":["aspace_188122","aspace_188122"],"id":"8a59a7d5170b598adb3047fc_aspace_188122","title_filing_ssi":"Yerba Buena Theatre","title_ssm":["Yerba Buena Theatre"],"title_tesim":["Yerba Buena Theatre"],"unitdate_other_ssim":["1993"],"normalized_date_ssm":["1993"],"normalized_title_ssm":["Yerba Buena Theatre, 1993"],"text":["Yerba Buena Theatre, 1993","J. R. Clancy Collection, 1911-1999, Date acquired: 01/01/2010","Job Drawings","Roll 91","Item 29","/repositories/10/archival_objects/42372","Job Number 16175. Sumitomo Construction. SF, CA. 9 sheets."],"component_level_isim":[3],"parent_ids_ssim":["8a59a7d5170b598adb3047fc","8a59a7d5170b598adb3047fc_aspace_355b18932e1d1ea9bdf7717267724462","8a59a7d5170b598adb3047fc_aspace_188093"],"parent_unittitles_ssm":["J. R. Clancy Collection, 1911-1999, Date acquired: 01/01/2010","Job Drawings","Roll 91"],"parent_unittitles_tesim":["J. R. Clancy Collection, 1911-1999, Date acquired: 01/01/2010","Job Drawings","Roll 91"],"parent_levels_ssm":["collection","Series","Other level"],"unitid_ssm":["Item 29","/repositories/10/archival_objects/42372"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["J. R. Clancy Collection, 1911-1999, Date acquired: 01/01/2010"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":2231,"scopecontent_html_tesm":["\u003cp\u003eJob Number 16175. Sumitomo Construction. SF, CA. 9 sheets.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Job Number 16175. Sumitomo Construction. SF, CA. 9 sheets."],"_nest_path_":"/components#0/components#88/components#28","_nest_parent_":"8a59a7d5170b598adb3047fc_aspace_188093","_root_":"8a59a7d5170b598adb3047fc","timestamp":"2026-07-11T06:28:28.123Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"8a59a7d5170b598adb3047fc","title_ssm":["J. R. Clancy Collection"],"title_tesim":["J. R. Clancy Collection"],"ead_ssi":"8a59a7d5170b598adb3047fc","unitdate_ssm":["1911-1999","Date acquired: 01/01/2010"],"unitdate_other_ssim":["1911-1999","Date acquired: 01/01/2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2010-002","/repositories/10/resources/310"],"text":["MSS 2010-002","/repositories/10/resources/310","J. R. Clancy Collection, 1911-1999, Date acquired: 01/01/2010","Architectural design","Theaters","Theater architecture","Theaters--Designs and plans","Drawing rolls are arranged in two series: Job Drawings and Standard Part Drawings. Within each series, rolls are arranged numerically by job number or standard part number where possible. Drawings are arranged within each roll in the order they were recieved from the donor, and researchers should note that not all drawings from a job are arranged together.","Architectural and engineering drawings related to construction and renovation projects managed by the J.R. Clancy stage rigging firm (1885-present), including theatrical designs, drawings for standard parts, wiring diagrams, and standard assemblies for stage rigging systems.","Select drawings from the J.R. Clancy Collection have been digitized and are available through the  FSU Digital Library .","FSU Special Collections \u0026 Archives","J.R. Clancy (Firm)","English"],"unitid_tesim":["MSS 2010-002","/repositories/10/resources/310"],"normalized_date_ssm":["1911-1999, Date acquired: 01/01/2010"],"normalized_title_ssm":["J. R. Clancy Collection, 1911-1999, Date acquired: 01/01/2010"],"collection_title_tesim":["J. R. Clancy Collection, 1911-1999, Date acquired: 01/01/2010"],"collection_ssim":["J. R. Clancy Collection, 1911-1999, Date acquired: 01/01/2010"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"creator_ssm":["J.R. Clancy (Firm)"],"creator_ssim":["J.R. Clancy (Firm)"],"creator_corpname_ssim":["J.R. Clancy (Firm)"],"creators_ssim":["J.R. Clancy (Firm)"],"acqinfo_ssim":["Bob Theis, Chair, J.R. Clancy","Deed of Gift"],"access_subjects_ssim":["Architectural design","Theaters","Theater architecture","Theaters--Designs and plans"],"access_subjects_ssm":["Architectural design","Theaters","Theater architecture","Theaters--Designs and plans"],"has_online_content_ssim":["false"],"extent_ssm":["350.00 Linear Feet"],"extent_tesim":["350.00 Linear Feet"],"arrangement_html_tesm":["\u003cp\u003eDrawing rolls are arranged in two series: Job Drawings and Standard Part Drawings. Within each series, rolls are arranged numerically by job number or standard part number where possible. Drawings are arranged within each roll in the order they were recieved from the donor, and researchers should note that not all drawings from a job are arranged together.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Drawing rolls are arranged in two series: Job Drawings and Standard Part Drawings. Within each series, rolls are arranged numerically by job number or standard part number where possible. Drawings are arranged within each roll in the order they were recieved from the donor, and researchers should note that not all drawings from a job are arranged together."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], J.R. Clancy Collection, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/MSS_2010-002\"\u003ehttp://purl.fcla.edu/fsu/MSS_2010-002\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], J.R. Clancy Collection, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/MSS_2010-002"],"scopecontent_html_tesm":["\u003cp\u003eArchitectural and engineering drawings related to construction and renovation projects managed by the J.R. Clancy stage rigging firm (1885-present), including theatrical designs, drawings for standard parts, wiring diagrams, and standard assemblies for stage rigging systems.\u003c/p\u003e","\u003cp\u003eSelect drawings from the J.R. Clancy Collection have been digitized and are available through the \u003cextref href=\"http://diginole.lib.fsu.edu/islandora/object/fsu:clancycollection\"\u003eFSU Digital Library\u003c/extref\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Online Copies Available"],"scopecontent_tesim":["Architectural and engineering drawings related to construction and renovation projects managed by the J.R. Clancy stage rigging firm (1885-present), including theatrical designs, drawings for standard parts, wiring diagrams, and standard assemblies for stage rigging systems.","Select drawings from the J.R. Clancy Collection have been digitized and are available through the  FSU Digital Library ."],"names_ssim":["FSU Special Collections \u0026 Archives","J.R. Clancy (Firm)"],"corpname_ssim":["FSU Special Collections \u0026 Archives","J.R. Clancy (Firm)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2605,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"8a59a7d5170b598adb3047fc","timestamp":"2026-07-11T06:28:28.123Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/8a59a7d5170b598adb3047fc_aspace_188122"}},{"id":"2adc31a30bfcd724088cd673_aspace_197862","type":"Item","attributes":{"title":"Yerger, Ralph, 2/2/1989","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/2adc31a30bfcd724088cd673_aspace_197862#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eProfessor of Biological Science, 1950-1988; Department development; faculty; classes; integration; administration; changes in students; anecdotes re: biology department OHP Control Number 0096\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2adc31a30bfcd724088cd673_aspace_197862#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_197862","ref_ssm":["aspace_197862","aspace_197862"],"id":"2adc31a30bfcd724088cd673_aspace_197862","title_filing_ssi":"Yerger, Ralph","title_ssm":["Yerger, Ralph"],"title_tesim":["Yerger, Ralph"],"unitdate_other_ssim":["2/2/1989"],"normalized_date_ssm":["2/2/1989"],"normalized_title_ssm":["Yerger, Ralph, 2/2/1989"],"text":["Yerger, Ralph, 2/2/1989","Reichelt Oral History Collection, 1969-2022","Florida State University Histories","Item 433","/repositories/10/archival_objects/134477","Professor of Biological Science, 1950-1988; Department development; faculty; classes; integration; administration; changes in students; anecdotes re: biology department OHP Control Number 0096"],"component_level_isim":[2],"parent_ids_ssim":["2adc31a30bfcd724088cd673","2adc31a30bfcd724088cd673_aspace_197429"],"parent_unittitles_ssm":["Reichelt Oral History Collection, 1969-2022","Florida State University Histories"],"parent_unittitles_tesim":["Reichelt Oral History Collection, 1969-2022","Florida State University Histories"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["Item 433","/repositories/10/archival_objects/134477"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Reichelt Oral History Collection, 1969-2022"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":2123,"parent_access_restrict_tesm":["Access to interviews and administrative files is restricted. Requests for access may be addressed to lib-specialcollections@fsu.edu. Requests will be reviewed by curators in consideration of interview rights and interviewee privacy. Please be as specific as possible in placing an access request, including interviewee name, interview date, and OHP Control Number where possible.","Most transcripts are available digitally. Staff should contact curators before retrieving containers from offsite storage.","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"parent_access_terms_tesm":["Copyright restrictions may apply to works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"scopecontent_html_tesm":["\u003cp\u003eProfessor of Biological Science, 1950-1988; Department development; faculty; classes; integration; administration; changes in students; anecdotes re: biology department OHP Control Number 0096\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Professor of Biological Science, 1950-1988; Department development; faculty; classes; integration; administration; changes in students; anecdotes re: biology department OHP Control Number 0096"],"_nest_path_":"/components#5/components#431","_nest_parent_":"2adc31a30bfcd724088cd673_aspace_197429","_root_":"2adc31a30bfcd724088cd673","_version_":1870859629991297024,"timestamp":"2026-07-16T08:32:58.674Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2adc31a30bfcd724088cd673","title_ssm":["Reichelt Oral History Collection"],"title_tesim":["Reichelt Oral History Collection"],"ead_ssi":"2adc31a30bfcd724088cd673","unitdate_ssm":["1969-2022"],"unitdate_other_ssim":["1969-2022"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["HUA 2015-00R","/repositories/10/resources/912"],"text":["HUA 2015-00R","/repositories/10/resources/912","Reichelt Oral History Collection, 1969-2022","Access to interviews and administrative files is restricted.  Requests for access may be addressed to lib-specialcollections@fsu.edu. Requests will be reviewed by curators in consideration of interview rights and interviewee privacy. Please be as specific as possible in placing an access request, including interviewee name, interview date, and OHP Control Number where possible.","Most transcripts are available digitally. Staff should contact curators before retrieving containers from offsite storage.","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","The Reichelt Oral History Program was founded in the Florida State University Department of History in 1969 under by Dr. Edward F. Keuchel, with the intent of teaching oral\thistory techniques to students while documenting FSU's history.  In\t1996, with the encouragement of university president Sandy\tD'Alemberte, the program was established permanently as an entity\twithin the History Department. The program later expanded to include histories on the University, the Florida State College for Women, Tallahassee, Florida, veterans of World War II, the\tKorean conflict, the Vietnam War, and other military conflicts.","Sound recordings, transcripts, and administrative files documenting the activities of the Reichelt Oral History Program in the Florida State University Department of History. Significant interview topics include United States military, life in Florida and Tallahassee, and student life at Florida State University and its predecessor institution Florida State College for Women.","Copyright restrictions may apply to works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information.","FSU Special Collections \u0026 Archives","English"],"unitid_tesim":["HUA 2015-00R","/repositories/10/resources/912"],"normalized_date_ssm":["1969-2022"],"normalized_title_ssm":["Reichelt Oral History Collection, 1969-2022"],"collection_title_tesim":["Reichelt Oral History Collection, 1969-2022"],"collection_ssim":["Reichelt Oral History Collection, 1969-2022"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright restrictions may apply to works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"acqinfo_ssim":["Florida State University Department of History"],"has_online_content_ssim":["false"],"extent_ssm":["0.00 Linear Feet"],"extent_tesim":["0.00 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003e\u003cemph render=\"bold\"\u003eAccess to interviews and administrative files is restricted.\u003c/emph\u003e Requests for access may be addressed to lib-specialcollections@fsu.edu. Requests will be reviewed by curators in consideration of interview rights and interviewee privacy. Please be as specific as possible in placing an access request, including interviewee name, interview date, and OHP Control Number where possible.\u003c/p\u003e\n","\u003cp\u003eMost transcripts are available digitally. Staff should contact curators before retrieving containers from offsite storage.\u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Access to interviews and administrative files is restricted.  Requests for access may be addressed to lib-specialcollections@fsu.edu. Requests will be reviewed by curators in consideration of interview rights and interviewee privacy. Please be as specific as possible in placing an access request, including interviewee name, interview date, and OHP Control Number where possible.","Most transcripts are available digitally. Staff should contact curators before retrieving containers from offsite storage.","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_html_tesm":["\u003cp\u003eThe Reichelt Oral History Program was founded in the Florida State University Department of History in 1969 under by Dr. Edward F. Keuchel, with the intent of teaching oral\thistory techniques to students while documenting FSU's history.\u0026#xA0; In\t1996, with the encouragement of university president Sandy\tD'Alemberte, the program was established permanently as an entity\twithin the History Department. The program later expanded to include histories on the University, the Florida State College for Women, Tallahassee, Florida, veterans of World War II, the\tKorean conflict, the Vietnam War, and other military conflicts.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Reichelt Oral History Program was founded in the Florida State University Department of History in 1969 under by Dr. Edward F. Keuchel, with the intent of teaching oral\thistory techniques to students while documenting FSU's history.  In\t1996, with the encouragement of university president Sandy\tD'Alemberte, the program was established permanently as an entity\twithin the History Department. The program later expanded to include histories on the University, the Florida State College for Women, Tallahassee, Florida, veterans of World War II, the\tKorean conflict, the Vietnam War, and other military conflicts."],"prefercite_html_tesm":["\u003cp\u003eReichelt Oral History Collection, HUA 2015-00R, Special Collections \u0026amp; Archives, Florida State University, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/HPUA-2015-00R\"\u003ehttp://purl.fcla.edu/fsu/HPUA-2015-00R\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["Reichelt Oral History Collection, HUA 2015-00R, Special Collections \u0026 Archives, Florida State University, Tallahassee, Florida.  http://purl.fcla.edu/fsu/HPUA-2015-00R"],"scopecontent_html_tesm":["\u003cp\u003eSound recordings, transcripts, and administrative files documenting the activities of the Reichelt Oral History Program in the Florida State University Department of History. Significant interview topics include United States military, life in Florida and Tallahassee, and student life at Florida State University and its predecessor institution Florida State College for Women.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Sound recordings, transcripts, and administrative files documenting the activities of the Reichelt Oral History Program in the Florida State University Department of History. Significant interview topics include United States military, life in Florida and Tallahassee, and student life at Florida State University and its predecessor institution Florida State College for Women."],"userestrict_html_tesm":["\u003cp\u003eCopyright restrictions may apply to works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright restrictions may apply to works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"names_ssim":["FSU Special Collections \u0026 Archives"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2176,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870859629991297024,"_root_":"2adc31a30bfcd724088cd673","timestamp":"2026-07-16T08:32:58.674Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2adc31a30bfcd724088cd673_aspace_197862"}},{"id":"a207ddea636c3864254a8f78_aspace_96554","type":"Item","attributes":{"title":"Yerushalayim, 1948","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/a207ddea636c3864254a8f78_aspace_96554#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003e1 score (3 pages) ; 31 cm\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/a207ddea636c3864254a8f78_aspace_96554#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_96554","ref_ssm":["aspace_96554","aspace_96554"],"id":"a207ddea636c3864254a8f78_aspace_96554","title_filing_ssi":"Yerushalayim","title_ssm":["Yerushalayim"],"title_tesim":["Yerushalayim"],"unitdate_other_ssim":["1948"],"normalized_date_ssm":["1948"],"normalized_title_ssm":["Yerushalayim, 1948"],"text":["Yerushalayim, 1948","Cantor Murray Yavneh, 1863-1974, Date acquired: 08/22/2012, bulk 1920-1970","Sheet Music","Cantorial","Folder 63","Item 1","/repositories/2/archival_objects/45014","Good","Musical Score","3","Jerusalem","Yerushalayim - Palestinian Song Arranged for Voice and Piano","Voice and piano","Palestinian Folk Melody","Romanized Hebrew and English translation on last page","Voice and piano","Henry Lefkowitch","Henry Lefkowtich","New York, New York","Metro Music","Original","1 score (3 pages) ; 31 cm","Hebrew"],"component_level_isim":[4],"parent_ids_ssim":["a207ddea636c3864254a8f78","a207ddea636c3864254a8f78_aspace_74859","a207ddea636c3864254a8f78_aspace_74860","a207ddea636c3864254a8f78_aspace_96553"],"parent_unittitles_ssm":["Cantor Murray Yavneh, 1863-1974, Date acquired: 08/22/2012, bulk 1920-1970","Sheet Music","Cantorial","Folder 63"],"parent_unittitles_tesim":["Cantor Murray Yavneh, 1863-1974, Date acquired: 08/22/2012, bulk 1920-1970","Sheet Music","Cantorial","Folder 63"],"parent_levels_ssm":["collection","Series","Subseries","File"],"unitid_ssm":["Item 1","/repositories/2/archival_objects/45014"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["Cantor Murray Yavneh, 1863-1974, Date acquired: 08/22/2012, bulk 1920-1970"],"physdesc_tesim":["Good","Musical Score","3"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":662,"parent_access_restrict_tesm":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library, and through PALMM."],"parent_access_terms_tesm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. 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