{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19273","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19272","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19274","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Item\u0026page=19301"},"meta":{"pages":{"current_page":19273,"next_page":19274,"prev_page":19272,"total_pages":19301,"limit_value":10,"offset_value":192720,"total_count":193001,"first_page?":false,"last_page?":false}},"data":[{"id":"4115e1bbc919edf5ec317433_aspace_28448c68072671e5eb10d5d8a8d5d6fd","type":"Item","attributes":{"title":"Yummy: The Last Days of a Southside Shorty, 2005","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/4115e1bbc919edf5ec317433_aspace_28448c68072671e5eb10d5d8a8d5d6fd#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_28448c68072671e5eb10d5d8a8d5d6fd","ref_ssm":["aspace_28448c68072671e5eb10d5d8a8d5d6fd","aspace_28448c68072671e5eb10d5d8a8d5d6fd"],"id":"4115e1bbc919edf5ec317433_aspace_28448c68072671e5eb10d5d8a8d5d6fd","title_filing_ssi":"Yummy: The Last Days of a Southside Shorty\n","title_ssm":["Yummy: The Last Days of a Southside Shorty\n"],"title_tesim":["Yummy: The Last Days of a Southside Shorty\n"],"unitdate_other_ssim":["2005"],"normalized_date_ssm":["2005"],"normalized_title_ssm":["Yummy: The Last Days of a Southside Shorty, 2005"],"text":["Yummy: The Last Days of a Southside Shorty, 2005","Greg Neri collection, 2004-2020","Cataloged Manuscripts","/repositories/2/archival_objects/147718","object HIPL F548.9.N4 N47 2005","Go To Catalog Record","Loose leaf notebook containing story boards, original file on disc, illustrator version of text, and folder with illustrations and illustrator's notes."],"component_level_isim":[2],"parent_ids_ssim":["4115e1bbc919edf5ec317433","4115e1bbc919edf5ec317433_aspace_3b79a07eb9c28894412d8c5143bcc532"],"parent_unittitles_ssm":["Greg Neri collection, 2004-2020","Cataloged Manuscripts"],"parent_unittitles_tesim":["Greg Neri collection, 2004-2020","Cataloged Manuscripts"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/147718"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Greg Neri collection, 2004-2020"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":26,"parent_access_terms_tesm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"date_range_isim":[2005],"containers_ssim":["object HIPL F548.9.N4 N47 2005"],"bibliography_html_tesm":["\u003cp\u003e\n\u003ca href=\"https://usf-flvc.primo.exlibrisgroup.com/permalink/01FALSC_USF/im6868/alma99379710781706599\"\u003eGo To Catalog Record\u003c/a\u003e\n\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Go To Catalog Record"],"odd_html_tesm":["\u003cp\u003eLoose leaf notebook containing story boards, original file on disc, illustrator version of text, and folder with illustrations and illustrator's notes.\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["Loose leaf notebook containing story boards, original file on disc, illustrator version of text, and folder with illustrations and illustrator's notes."],"_nest_path_":"/components#2/components#6","_nest_parent_":"4115e1bbc919edf5ec317433_aspace_3b79a07eb9c28894412d8c5143bcc532","_root_":"4115e1bbc919edf5ec317433","_version_":1870862587123466240,"timestamp":"2026-07-16T09:19:58.864Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"4115e1bbc919edf5ec317433","title_ssm":["Greg Neri collection"],"title_tesim":["Greg Neri collection"],"ead_ssi":"4115e1bbc919edf5ec317433","unitdate_ssm":["2004-2020"],"unitdate_inclusive_ssm":["2004-2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2019-04","/repositories/2/resources/216"],"text":["MS-2019-04","/repositories/2/resources/216","Greg Neri collection, 2004-2020","Children -- Books and reading","Children's literature","Children's literature, American","Young adult fiction -- Publishing -- United States","Graphic non-fiction","Additional materials added 2023","Material is arranged according to book title and chronoogy.","Greg Neri is an American author of young adult books, including free verse, prose, and graphic novels. 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Neri resides in Tampa."],"prefercite_html_tesm":["\u003cp\u003eGreg Neri research materials, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e","\u003cp\u003eGreg Neri collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Greg Neri research materials, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.","Greg Neri collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eNeri, Greg. \u003cemph render=\"italic\"\u003eGrand Theft Horse\u003c/emph\u003e. 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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.","In 2011-2012, this collection was processed by Elizabeth Fairall, Justin Rust and Victoria Thur.","In 2009, Dr. Morton Gold (1933- ) donated his collection of music manuscripts, scrapbooks, publications, personal papers, and audio recordings to Florida Atlantic University Libraries. These materials relate to his professional life as a composer, writer, and teacher of music. 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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. 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He later married Adelina Jane Barlow who was a native of Shreveport, Louisana. During the 1880's Samuel moved his wife and four sons to Florida. Locating in Jacksonville, Samuel worked as a photographer, during which time Adelina gave birth to twin boys. Near the end of the 19th century the Burgert family finally moved to Tampa where three of the Burgerts worked as photographers. Samuel's sons Al and Jean started the Burgert Brothers firm around 1917. They were widley known as skilled, and reputable photographers who maintained the finest equipment and didn't discriminate. They worked nearly every aspect of the business, including news, portrait, and commercial photography. Throughout their careers they took hundreds of thousands of photographs which recorded the development of Tampa from a small town to a major city. ","Synder, Robert E. and Jack B. Morre,  Sunland Tribune  , 16 (November 1990) pp. 19-26.","For further reading see: Synder, Robert B. and Jack B. Moore,  Pioneer Commercial Photography- The Burgert Brothers , Tampa, Florida, University Press of Flordia: Gainesville, 1992.","The collection consists of Burgert Brothers prints derived from various sources and assembled into a composite collection.  The two principle sources for the Burgert images were the photographic holdings of the Tony Pizzo and Hampton Dunn collections. Both had considerable numbers of Burgert prints and negatives dispersed under various subject headings. The collection was assembled into a single, coherent collection in 1993.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","Burgert Brothers Commercial Photographers","English"],"unitid_tesim":["MS-2000-03","/repositories/2/resources/458"],"normalized_date_ssm":["bulk 1890-1960"],"normalized_title_ssm":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"collection_title_tesim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"collection_ssim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Burgert Brothers Commercial Photographers"],"creator_ssim":["Burgert Brothers Commercial Photographers"],"creator_corpname_ssim":["Burgert Brothers Commercial Photographers"],"creators_ssim":["Burgert Brothers Commercial Photographers"],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"has_online_content_ssim":["false"],"extent_ssm":["4.39 Linear Feet","21 boxes"],"extent_tesim":["4.39 Linear Feet","21 boxes"],"date_range_isim":[1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida."],"arrangement_html_tesm":["\u003cp\u003eThis collection is currently unprocessed.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["This collection is currently unprocessed."],"bioghist_html_tesm":["\u003cp\u003eSamuel Burgert was born in Cincinnati, Ohio in 1849. He later married Adelina Jane Barlow who was a native of Shreveport, Louisana. During the 1880's Samuel moved his wife and four sons to Florida. Locating in Jacksonville, Samuel worked as a photographer, during which time Adelina gave birth to twin boys. Near the end of the 19th century the Burgert family finally moved to Tampa where three of the Burgerts worked as photographers. Samuel's sons Al and Jean started the Burgert Brothers firm around 1917. They were widley known as skilled, and reputable photographers who maintained the finest equipment and didn't discriminate. They worked nearly every aspect of the business, including news, portrait, and commercial photography. Throughout their careers they took hundreds of thousands of photographs which recorded the development of Tampa from a small town to a major city. \u003c/p\u003e\n","\u003cp\u003eSynder, Robert E. and Jack B. Morre, \u003cemph render=\"italic\"\u003eSunland Tribune\u003c/emph\u003e , 16 (November 1990) pp. 19-26.\u003c/p\u003e\n","\u003cp\u003eFor further reading see: Synder, Robert B. and Jack B. Moore, \u003cemph render=\"italic\"\u003ePioneer Commercial Photography- The Burgert Brothers\u003c/emph\u003e, Tampa, Florida, University Press of Flordia: Gainesville, 1992.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Samuel Burgert was born in Cincinnati, Ohio in 1849. He later married Adelina Jane Barlow who was a native of Shreveport, Louisana. During the 1880's Samuel moved his wife and four sons to Florida. Locating in Jacksonville, Samuel worked as a photographer, during which time Adelina gave birth to twin boys. Near the end of the 19th century the Burgert family finally moved to Tampa where three of the Burgerts worked as photographers. Samuel's sons Al and Jean started the Burgert Brothers firm around 1917. They were widley known as skilled, and reputable photographers who maintained the finest equipment and didn't discriminate. They worked nearly every aspect of the business, including news, portrait, and commercial photography. Throughout their careers they took hundreds of thousands of photographs which recorded the development of Tampa from a small town to a major city. ","Synder, Robert E. and Jack B. Morre,  Sunland Tribune  , 16 (November 1990) pp. 19-26.","For further reading see: Synder, Robert B. and Jack B. Moore,  Pioneer Commercial Photography- The Burgert Brothers , Tampa, Florida, University Press of Flordia: Gainesville, 1992."],"prefercite_html_tesm":["\u003cp\u003eBurgert Brothers Collection of Tampa Photographs, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Burgert Brothers Collection of Tampa Photographs, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of Burgert Brothers prints derived from various sources and assembled into a composite collection.\u0026#xA0; The two principle sources for the Burgert images were the photographic holdings of the Tony Pizzo and Hampton Dunn collections. Both had considerable numbers of Burgert prints and negatives dispersed under various subject headings. The collection was assembled into a single, coherent collection in 1993.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection consists of Burgert Brothers prints derived from various sources and assembled into a composite collection.  The two principle sources for the Burgert images were the photographic holdings of the Tony Pizzo and Hampton Dunn collections. Both had considerable numbers of Burgert prints and negatives dispersed under various subject headings. The collection was assembled into a single, coherent collection in 1993."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections","Burgert Brothers Commercial Photographers"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Burgert Brothers Commercial Photographers"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":774,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1879740859650408448,"_root_":"af523c30b90933b50a837e53","timestamp":"2026-10-22T09:16:19.330Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/af523c30b90933b50a837e53_aspace_6125e8e12b8b6b80993ac5c0b460f336"}},{"id":"5d745054e40d7bb54235fac2_aspace_65539","type":"Item","attributes":{"title":"Y.W.C.A. residence, Tampa, Florida","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/5d745054e40d7bb54235fac2_aspace_65539#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_65539","ref_ssm":["aspace_65539","aspace_65539"],"id":"5d745054e40d7bb54235fac2_aspace_65539","title_filing_ssi":"Y.W.C.A. residence, Tampa, Florida","title_ssm":["Y.W.C.A. residence, Tampa, Florida"],"title_tesim":["Y.W.C.A. residence, Tampa, Florida"],"normalized_title_ssm":["Y.W.C.A. residence, Tampa, Florida"],"text":["Y.W.C.A. residence, Tampa, Florida","Hampton Dunn Collection of Florida Postcards, 1900-1985","Counties","Hillsborough County","Box 6","Item 166","/repositories/2/archival_objects/95084","usfldc:D32-0591"],"component_level_isim":[4],"parent_ids_ssim":["5d745054e40d7bb54235fac2","5d745054e40d7bb54235fac2_aspace_62334","5d745054e40d7bb54235fac2_aspace_64110","5d745054e40d7bb54235fac2_aspace_64112"],"parent_unittitles_ssm":["Hampton Dunn Collection of Florida Postcards, 1900-1985","Counties","Hillsborough County","Box 6"],"parent_unittitles_tesim":["Hampton Dunn Collection of Florida Postcards, 1900-1985","Counties","Hillsborough County","Box 6"],"parent_levels_ssm":["collection","Series","Subseries","Box"],"unitid_ssm":["Item 166","/repositories/2/archival_objects/95084"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Hampton Dunn Collection of Florida Postcards, 1900-1985"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":596,"parent_access_terms_tesm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"materialspec_html_tesm":["\u003cmaterialspec id=\"aspace_1738bc6322d0572e1a5b4a099ec58de9\"\u003eusfldc:D32-0591\u003c/materialspec\u003e"],"materialspec_tesim":["usfldc:D32-0591"],"_nest_path_":"/components#0/components#27/components#1/components#92","_nest_parent_":"5d745054e40d7bb54235fac2_aspace_64112","_root_":"5d745054e40d7bb54235fac2","_version_":1879650271648284672,"timestamp":"2026-10-21T09:16:27.807Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"5d745054e40d7bb54235fac2","title_ssm":["Hampton Dunn Collection of Florida Postcards"],"title_tesim":["Hampton Dunn Collection of Florida Postcards"],"ead_ssi":"5d745054e40d7bb54235fac2","unitdate_ssm":["1900-1985"],"unitdate_inclusive_ssm":["1900-1985"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1981-02","/repositories/2/resources/422"],"text":["MS-1981-02","/repositories/2/resources/422","Hampton Dunn Collection of Florida Postcards, 1900-1985","Florida -- Pictorial works.","Florida -- History -- 20th Century.","Postcards -- Florida.","Florida -- Social life and customs.","The collection is arranged into four series and then alphabetically by sub-series.  Postcards with a specific location, such as cities or landmarks, are placed in the Counties series. Postcards with no specific location or that span multiple counties, such as rivers, are placed in the Topical series. Digitized postcards are placed in plastic sleeves in their respective boxes.","Henry Hampton Dunn and his twin sister Hazel were born in Floral City, Florida on December 14, 1916. Dunn published his first article in 1932 as a Boy Scout correspondent for the Citrus County Chronicle. During his high school years, which he completed in Tampa, he wrote sports reviews for the  Tampa Tribune  and  Florida Times Union . He attended Mercer University in Macon, Georgia, University of Tampa in Florida and served as a public relations officer and war correspondent with the 12 th  Air Force during World War II. He left the service in November 1945 at the rank of major and with a Bronze Star.","Dunn joined the Tampa Daily Times as a full-time journalist in 1936. In 1946 he received the \"Best News Story Award\" from the Associated Press Association of Florida for his coverage of the Marjorie Kinnan Rawlings invasion of privacy trial.For two years Dunn served as a political commentator and news analyst for station WCKT-TV in Miami.  When he returned to Tampa, he joined the Peninsula Motor Club, an affiliate of the American Automobile Association, as an executive officer and later vice president.","Dunn edited AAA's monthly magazine,  Florida Explorer , and several other journals and newsletters including the  Sunland Tribune  (Tampa Historical Society) and  The Hub  (Rotary Club of Tampa).  His syndicated columns included \"Photouring Florida\" (began in 1966), \"Floridana,\" and \"Palm Tree Politics.\"  During his later years, he presented \"Hampton Dunn's Yesterdays\" – little histories of Florida events – on WTVT, Channel 13. Hampton belonged to many organizations, including the Tampa Historical Society, Florida Historical Society, and Historical Association of Southern Florida.  His talks to many historical and genealogical groups around the state earned him the affectionate title, \"Mr. Florida.\"","Hampton and his wife Charlotte Ruth Rawls Dunn were the parents of three children.  He died February 3, 2002.","Sources:","Berube, Rich.  \"Hampton Dunn Gift Brings Florida's History to Life.\"   Sunland Tribune   7 (November 1982): 65-67.","Camp, Paul.   Collecting Florida: The Hampton Dunn Collection and other Floridiana.  Tampa, FL: University of South Florida Libraries, 2006.","This collection is actively being digitized. You can view the collection on  Digital Commons at USF .","Hampton Dunn collection, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","This collection contains approximately 16,100 postcards that represent Florida's culture, environment and history. Postcards depict a variety of images, such as beaches, streets, hotels and government buildings, plants, landmarks, and tourist attractions. The collection primarily consists of postcards from the first half of the twentieth century. Many have been postmarked and mailed.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","Dunn, Hampton (Henry Hampton), 1916-2002","English"],"unitid_tesim":["MS-1981-02","/repositories/2/resources/422"],"normalized_date_ssm":["1900-1985"],"normalized_title_ssm":["Hampton Dunn Collection of Florida Postcards, 1900-1985"],"collection_title_tesim":["Hampton Dunn Collection of Florida Postcards, 1900-1985"],"collection_ssim":["Hampton Dunn Collection of Florida Postcards, 1900-1985"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Florida -- Pictorial works.","Florida -- History -- 20th Century."],"geogname_ssim":["Florida -- Pictorial works.","Florida -- History -- 20th Century."],"creator_ssm":["Dunn, Hampton (Henry Hampton), 1916-2002"],"creator_ssim":["Dunn, Hampton (Henry Hampton), 1916-2002"],"creator_persname_ssim":["Dunn, Hampton (Henry Hampton), 1916-2002"],"creators_ssim":["Dunn, Hampton (Henry Hampton), 1916-2002"],"places_ssim":["Florida -- Pictorial works.","Florida -- History -- 20th Century."],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Hampton Dunn","Donation"],"access_subjects_ssim":["Postcards -- Florida.","Florida -- Social life and customs."],"access_subjects_ssm":["Postcards -- Florida.","Florida -- Social life and customs."],"has_online_content_ssim":["false"],"extent_ssm":["18.29 Linear Feet","34 boxes"],"extent_tesim":["18.29 Linear Feet","34 boxes"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into four series and then alphabetically by sub-series.\u0026#xA0; Postcards with a specific location, such as cities or landmarks, are placed in the Counties series. Postcards with no specific location or that span multiple counties, such as rivers, are placed in the Topical series. Digitized postcards are placed in plastic sleeves in their respective boxes.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is arranged into four series and then alphabetically by sub-series.  Postcards with a specific location, such as cities or landmarks, are placed in the Counties series. Postcards with no specific location or that span multiple counties, such as rivers, are placed in the Topical series. Digitized postcards are placed in plastic sleeves in their respective boxes."],"bioghist_html_tesm":["\u003cp\u003eHenry Hampton Dunn and his twin sister Hazel were born in Floral City, Florida on December 14, 1916. Dunn published his first article in 1932 as a Boy Scout correspondent for the Citrus County Chronicle. During his high school years, which he completed in Tampa, he wrote sports reviews for the \u003cemph render=\"italic\"\u003eTampa Tribune\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eFlorida Times Union\u003c/emph\u003e. He attended Mercer University in Macon, Georgia, University of Tampa in Florida and served as a public relations officer and war correspondent with the 12\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Air Force during World War II. He left the service in November 1945 at the rank of major and with a Bronze Star.\u003c/p\u003e\n","\u003cp\u003eDunn joined the Tampa Daily Times as a full-time journalist in 1936. In 1946 he received the \"Best News Story Award\" from the Associated Press Association of Florida for his coverage of the Marjorie Kinnan Rawlings invasion of privacy trial.For two years Dunn served as a political commentator and news analyst for station WCKT-TV in Miami.\u0026#xA0; When he returned to Tampa, he joined the Peninsula Motor Club, an affiliate of the American Automobile Association, as an executive officer and later vice president.\u003c/p\u003e\n","\u003cp\u003eDunn edited AAA's monthly magazine, \u003cemph render=\"italic\"\u003eFlorida Explorer\u003c/emph\u003e, and several other journals and newsletters including the \u003cemph render=\"italic\"\u003eSunland Tribune \u003c/emph\u003e(Tampa Historical Society) and \u003cemph render=\"italic\"\u003eThe Hub\u003c/emph\u003e (Rotary Club of Tampa).\u0026#xA0; His syndicated columns included \"Photouring Florida\" (began in 1966), \"Floridana,\" and \"Palm Tree Politics.\"\u0026#xA0; During his later years, he presented \"Hampton Dunn's Yesterdays\" \u0026#x2013; little histories of Florida events \u0026#x2013; on WTVT, Channel 13. Hampton belonged to many organizations, including the Tampa Historical Society, Florida Historical Society, and Historical Association of Southern Florida.\u0026#xA0; His talks to many historical and genealogical groups around the state earned him the affectionate title, \"Mr. Florida.\"\u003c/p\u003e\n","\u003cp\u003eHampton and his wife Charlotte Ruth Rawls Dunn were the parents of three children.\u0026#xA0; He died February 3, 2002.\u003c/p\u003e\n","\u003cp\u003eSources:\u003c/p\u003e\n","\u003cp\u003eBerube, Rich.\u0026#xA0; \"Hampton Dunn Gift Brings Florida's History to Life.\"\u0026#xA0; \u003cemph render=\"italic\"\u003eSunland Tribune\u003c/emph\u003e\u0026#xA0; 7 (November 1982): 65-67.\u003c/p\u003e\n","\u003cp\u003eCamp, Paul.\u0026#xA0; \u003cemph render=\"italic\"\u003eCollecting Florida: The Hampton Dunn Collection and other Floridiana.\u003c/emph\u003e Tampa, FL: University of South Florida Libraries, 2006.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Henry Hampton Dunn and his twin sister Hazel were born in Floral City, Florida on December 14, 1916. Dunn published his first article in 1932 as a Boy Scout correspondent for the Citrus County Chronicle. During his high school years, which he completed in Tampa, he wrote sports reviews for the  Tampa Tribune  and  Florida Times Union . He attended Mercer University in Macon, Georgia, University of Tampa in Florida and served as a public relations officer and war correspondent with the 12 th  Air Force during World War II. He left the service in November 1945 at the rank of major and with a Bronze Star.","Dunn joined the Tampa Daily Times as a full-time journalist in 1936. In 1946 he received the \"Best News Story Award\" from the Associated Press Association of Florida for his coverage of the Marjorie Kinnan Rawlings invasion of privacy trial.For two years Dunn served as a political commentator and news analyst for station WCKT-TV in Miami.  When he returned to Tampa, he joined the Peninsula Motor Club, an affiliate of the American Automobile Association, as an executive officer and later vice president.","Dunn edited AAA's monthly magazine,  Florida Explorer , and several other journals and newsletters including the  Sunland Tribune  (Tampa Historical Society) and  The Hub  (Rotary Club of Tampa).  His syndicated columns included \"Photouring Florida\" (began in 1966), \"Floridana,\" and \"Palm Tree Politics.\"  During his later years, he presented \"Hampton Dunn's Yesterdays\" – little histories of Florida events – on WTVT, Channel 13. Hampton belonged to many organizations, including the Tampa Historical Society, Florida Historical Society, and Historical Association of Southern Florida.  His talks to many historical and genealogical groups around the state earned him the affectionate title, \"Mr. Florida.\"","Hampton and his wife Charlotte Ruth Rawls Dunn were the parents of three children.  He died February 3, 2002.","Sources:","Berube, Rich.  \"Hampton Dunn Gift Brings Florida's History to Life.\"   Sunland Tribune   7 (November 1982): 65-67.","Camp, Paul.   Collecting Florida: The Hampton Dunn Collection and other Floridiana.  Tampa, FL: University of South Florida Libraries, 2006."],"prefercite_html_tesm":["\u003cp\u003eHampton Dunn Collection of Florida postcards, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Hampton Dunn Collection of Florida postcards, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eThis collection is actively being digitized. You can view the collection on \u003ca href=\"https://digitalcommons.usf.edu/dunn_postcards/\"\u003eDigital Commons at USF\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eHampton Dunn collection, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Digital Collection","Related Materials"],"relatedmaterial_tesim":["This collection is actively being digitized. You can view the collection on  Digital Commons at USF .","Hampton Dunn collection, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains approximately 16,100 postcards that represent Florida's culture, environment and history. Postcards depict a variety of images, such as beaches, streets, hotels and government buildings, plants, landmarks, and tourist attractions. The collection primarily consists of postcards from the first half of the twentieth century. Many have been postmarked and mailed.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains approximately 16,100 postcards that represent Florida's culture, environment and history. Postcards depict a variety of images, such as beaches, streets, hotels and government buildings, plants, landmarks, and tourist attractions. The collection primarily consists of postcards from the first half of the twentieth century. Many have been postmarked and mailed."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections","Dunn, Hampton (Henry Hampton), 1916-2002"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Dunn, Hampton (Henry Hampton), 1916-2002"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2823,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1879650271648284672,"_root_":"5d745054e40d7bb54235fac2","timestamp":"2026-10-21T09:16:27.807Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/5d745054e40d7bb54235fac2_aspace_65539"}},{"id":"18ce43a3c782b797db9fa781_aspace_176263","type":"Item","attributes":{"title":"Y.W.C.A. United War Work Campaign. Back our girls over there.","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_176263#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eHand-colored illustration.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_176263#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_176263","ref_ssm":["aspace_176263","aspace_176263"],"id":"18ce43a3c782b797db9fa781_aspace_176263","title_filing_ssi":"Y.W.C.A. United War Work Campaign. Back our girls over there.","title_ssm":["Y.W.C.A. United War Work Campaign. Back our girls over there."],"title_tesim":["Y.W.C.A. United War Work Campaign. Back our girls over there."],"normalized_title_ssm":["Y.W.C.A. United War Work Campaign. Back our girls over there."],"text":["Y.W.C.A. United War Work Campaign. Back our girls over there.","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations","World War I Posters","Item 19","/repositories/2/archival_objects/82744","Hand-colored illustration."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179818","18ce43a3c782b797db9fa781_aspace_176244"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations","World War I Posters"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations","World War I Posters"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 19","/repositories/2/archival_objects/82744"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":655,"parent_access_restrict_tesm":["Fragile materials served by appointment. Gloves required."],"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"scopecontent_html_tesm":["\u003cp\u003eHand-colored illustration.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hand-colored illustration."],"_nest_path_":"/components#16/components#3/components#18","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_176244","_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   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