{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=115","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=114","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=116","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=856"},"meta":{"pages":{"current_page":115,"next_page":116,"prev_page":114,"total_pages":856,"limit_value":10,"offset_value":1140,"total_count":8556,"first_page?":false,"last_page?":false}},"data":[{"id":"858c2b961d9f21b8a16c10c6_aspace_b538fee19f4a9811fbdd3a530d9e58a1","type":"Series","attributes":{"title":"Birds","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/858c2b961d9f21b8a16c10c6_aspace_b538fee19f4a9811fbdd3a530d9e58a1#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_b538fee19f4a9811fbdd3a530d9e58a1","ref_ssm":["aspace_b538fee19f4a9811fbdd3a530d9e58a1","aspace_b538fee19f4a9811fbdd3a530d9e58a1"],"id":"858c2b961d9f21b8a16c10c6_aspace_b538fee19f4a9811fbdd3a530d9e58a1","title_filing_ssi":"Birds","title_ssm":["Birds"],"title_tesim":["Birds"],"normalized_title_ssm":["Birds"],"text":["Birds","Florida Photograph collection, bulk 1883-1977","/repositories/2/archival_objects/218283"],"component_level_isim":[1],"parent_ids_ssim":["858c2b961d9f21b8a16c10c6"],"parent_unittitles_ssm":["Florida Photograph collection, bulk 1883-1977"],"parent_unittitles_tesim":["Florida Photograph collection, bulk 1883-1977"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/2/archival_objects/218283"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Florida Photograph collection, bulk 1883-1977"],"has_online_content_ssim":["false"],"child_component_count_isi":6,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":29,"parent_access_terms_tesm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"_nest_path_":"/components#11","_nest_parent_":"858c2b961d9f21b8a16c10c6","_root_":"858c2b961d9f21b8a16c10c6","timestamp":"2026-06-06T03:16:59.251Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"858c2b961d9f21b8a16c10c6","title_ssm":["Florida Photograph collection"],"title_tesim":["Florida Photograph collection"],"ead_ssi":"858c2b961d9f21b8a16c10c6","unitdate_ssm":["1883-1977"],"unitdate_bulk_ssim":["1883-1977"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2021-06","/repositories/2/resources/597"],"text":["MS-2021-06","/repositories/2/resources/597","Florida Photograph collection, bulk 1883-1977","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-2021-06","/repositories/2/resources/597"],"normalized_date_ssm":["bulk 1883-1977"],"normalized_title_ssm":["Florida Photograph collection, bulk 1883-1977"],"collection_title_tesim":["Florida Photograph collection, bulk 1883-1977"],"collection_ssim":["Florida Photograph collection, bulk 1883-1977"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"has_online_content_ssim":["false"],"extent_ssm":["8.78 Linear Feet","42 boxes"],"extent_tesim":["8.78 Linear Feet","42 boxes"],"date_range_isim":[1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"total_component_count_is":978,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"858c2b961d9f21b8a16c10c6","timestamp":"2026-06-06T03:16:59.251Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/858c2b961d9f21b8a16c10c6_aspace_b538fee19f4a9811fbdd3a530d9e58a1"}},{"id":"18ce43a3c782b797db9fa781_aspace_177743","type":"Series","attributes":{"title":"Birds","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_177743#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_177743","ref_ssm":["aspace_177743","aspace_177743"],"id":"18ce43a3c782b797db9fa781_aspace_177743","title_filing_ssi":"Birds","title_ssm":["Birds"],"title_tesim":["Birds"],"normalized_title_ssm":["Birds"],"text":["Birds","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Flowers, Animals Birds","Series 3","/repositories/2/archival_objects/81528"],"component_level_isim":[2],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179819"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Flowers, Animals Birds"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Flowers, Animals Birds"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 3","/repositories/2/archival_objects/81528"],"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":26,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":727,"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."],"_nest_path_":"/components#17/components#2","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179819","_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_177743"}},{"id":"858340431e01b4ff29d22675_aspace_39038","type":"Series","attributes":{"title":"Birnbaum Music Manuscript","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/858340431e01b4ff29d22675_aspace_39038#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_39038","ref_ssm":["aspace_39038","aspace_39038"],"id":"858340431e01b4ff29d22675_aspace_39038","title_filing_ssi":"Birnbaum Music Manuscript","title_ssm":["Birnbaum Music Manuscript"],"title_tesim":["Birnbaum Music Manuscript"],"normalized_title_ssm":["Birnbaum Music Manuscript"],"text":["Birnbaum Music Manuscript","Birnbaum Music Manuscript, 1902-1918, Date acquired: 11/00/2000","Series 1","/repositories/2/archival_objects/43276","box 1"],"component_level_isim":[1],"parent_ids_ssim":["858340431e01b4ff29d22675"],"parent_unittitles_ssm":["Birnbaum Music Manuscript, 1902-1918, Date acquired: 11/00/2000"],"parent_unittitles_tesim":["Birnbaum Music Manuscript, 1902-1918, Date acquired: 11/00/2000"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 1","/repositories/2/archival_objects/43276"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["Birnbaum Music Manuscript, 1902-1918, Date acquired: 11/00/2000"],"has_online_content_ssim":["false"],"child_component_count_isi":136,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"parent_access_terms_tesm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"containers_ssim":["box 1"],"_nest_path_":"/components#0","_nest_parent_":"858340431e01b4ff29d22675","_root_":"858340431e01b4ff29d22675","_version_":1870841660174237696,"timestamp":"2026-07-16T03:47:21.369Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"858340431e01b4ff29d22675","title_ssm":["Birnbaum Music Manuscript"],"title_tesim":["Birnbaum Music Manuscript"],"ead_ssi":"858340431e01b4ff29d22675","unitdate_ssm":["1902-1918","Date acquired: 11/00/2000"],"unitdate_inclusive_ssm":["1902-1918"],"unitdate_other_ssim":["Date acquired: 11/00/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["PMC00003","/repositories/2/resources/129"],"text":["PMC00003","/repositories/2/resources/129","Birnbaum Music Manuscript, 1902-1918, Date acquired: 11/00/2000","Violin Music","\tWorld War, 1914-1918 -- Songs and music","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.","Creator established the arrangement.","In 2011, this collection was processed by Elizabeth Fairall.","In 2000, the family of Nathan Birnbaum donated his music manuscript dating from 1902-1918. Locations noted in the manuscript include: London, Neu Sandez and also Knockaloe and Douglas which were both internment camps during World War I (1914-1918). Titles are mainly in German. A few titles are in Hebrew. Music almost exclusively for Violin.  Includes marches, waltzes, polkas, mazurkas, and Jewish religious songs. There are over 130 titles, many of which are signed by one or more of the following names: Nathan Birnbaum, Z. Gohlberger, Safir Julius, and John Angeren. All compositions are handwritten; the majority appear to be original although there are some transcriptions of works by Drdla, Blumenthal, and Brahms.","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","Nathan Birnbaum","English"],"unitid_tesim":["PMC00003","/repositories/2/resources/129"],"normalized_date_ssm":["1902-1918, Date acquired: 11/00/2000"],"normalized_title_ssm":["Birnbaum Music Manuscript, 1902-1918, Date acquired: 11/00/2000"],"collection_title_tesim":["Birnbaum Music Manuscript, 1902-1918, Date acquired: 11/00/2000"],"collection_ssim":["Birnbaum Music Manuscript, 1902-1918, Date acquired: 11/00/2000"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"creator_ssm":["Nathan Birnbaum"],"creator_ssim":["Nathan Birnbaum"],"creator_persname_ssim":["Nathan Birnbaum"],"creators_ssim":["Nathan Birnbaum"],"access_terms_ssm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"acqinfo_ssim":["Edith Birnbaum Millman and Leon Milman","Donation"],"access_subjects_ssim":["Violin Music","\tWorld War, 1914-1918 -- Songs and music"],"access_subjects_ssm":["Violin Music","\tWorld War, 1914-1918 -- Songs and music"],"has_online_content_ssim":["false"],"extent_ssm":["1.00 items","136 pieces of music in a bound manuscript. other_unmapped"],"extent_tesim":["1.00 items","136 pieces of music in a bound manuscript. other_unmapped"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.\u003c/p\u003e\n","\u003cp\u003ePhotocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"arrangement_html_tesm":["\u003cp\u003eCreator established the arrangement.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Creator established the arrangement."],"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\u003eIn 2011, this collection was processed by Elizabeth Fairall.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2011, this collection was processed by Elizabeth Fairall."],"scopecontent_html_tesm":["\u003cp\u003eIn 2000, the family of Nathan Birnbaum donated his music manuscript dating from 1902-1918. Locations noted in the manuscript include: London, Neu Sandez and also Knockaloe and Douglas which were both internment camps during World War I (1914-1918). Titles are mainly in German. A few titles are in Hebrew. Music almost exclusively for Violin.\u0026#xA0; Includes marches, waltzes, polkas, mazurkas, and Jewish religious songs. There are over 130 titles, many of which are signed by one or more of the following names: Nathan Birnbaum, Z. Gohlberger, Safir Julius, and John Angeren. All compositions are handwritten; the majority appear to be original although there are some transcriptions of works by Drdla, Blumenthal, and Brahms.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["In 2000, the family of Nathan Birnbaum donated his music manuscript dating from 1902-1918. Locations noted in the manuscript include: London, Neu Sandez and also Knockaloe and Douglas which were both internment camps during World War I (1914-1918). Titles are mainly in German. A few titles are in Hebrew. Music almost exclusively for Violin.  Includes marches, waltzes, polkas, mazurkas, and Jewish religious songs. There are over 130 titles, many of which are signed by one or more of the following names: Nathan Birnbaum, Z. Gohlberger, Safir Julius, and John Angeren. All compositions are handwritten; the majority appear to be original although there are some transcriptions of works by Drdla, Blumenthal, and Brahms."],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.\u003c/p\u003e\n","\u003cp\u003eWhen using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.\u003c/p\u003e\n","\u003cp\u003eShould the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact \u003ca href=\"mailto:lysca@fau.edu\"\u003eSpecial Collections\u003c/a\u003e.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"names_ssim":["Florida Atlantic University Libraries","Nathan Birnbaum"],"corpname_ssim":["Florida Atlantic University Libraries"],"persname_ssim":["Nathan Birnbaum"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":137,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870841660174237696,"_root_":"858340431e01b4ff29d22675","timestamp":"2026-07-16T03:47:21.369Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/858340431e01b4ff29d22675_aspace_39038"}},{"id":"b33f8a51d3a6f14a99543ff5_aspace_6540d6464b5f2362515ffc03f628beab","type":"Series","attributes":{"title":"Birthday Celebration","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/b33f8a51d3a6f14a99543ff5_aspace_6540d6464b5f2362515ffc03f628beab#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_6540d6464b5f2362515ffc03f628beab","ref_ssm":["aspace_6540d6464b5f2362515ffc03f628beab","aspace_6540d6464b5f2362515ffc03f628beab"],"id":"b33f8a51d3a6f14a99543ff5_aspace_6540d6464b5f2362515ffc03f628beab","title_filing_ssi":"Birthday Celebration","title_ssm":["Birthday Celebration"],"title_tesim":["Birthday Celebration"],"normalized_title_ssm":["Birthday Celebration"],"text":["Birthday Celebration","Rob Rollins Collection, Circa 1930-1949","/repositories/4/archival_objects/10801"],"component_level_isim":[1],"parent_ids_ssim":["b33f8a51d3a6f14a99543ff5"],"parent_unittitles_ssm":["Rob Rollins Collection, Circa 1930-1949"],"parent_unittitles_tesim":["Rob Rollins Collection, Circa 1930-1949"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/4/archival_objects/10801"],"repository_ssim":["Broward County Historical Archives"],"collection_ssim":["Rob Rollins Collection, Circa 1930-1949"],"has_online_content_ssim":["false"],"child_component_count_isi":5,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":307,"parent_access_restrict_tesm":["Rob Rollins Collection is open for research."],"_nest_path_":"/components#5","_nest_parent_":"b33f8a51d3a6f14a99543ff5","_root_":"b33f8a51d3a6f14a99543ff5","_version_":1876457690411040768,"timestamp":"2026-09-16T03:31:45.165Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"b33f8a51d3a6f14a99543ff5","title_filing_ssi":"Rollins, Rob Collection","title_ssm":["Rob Rollins Collection"],"title_tesim":["Rob Rollins Collection"],"ead_ssi":"b33f8a51d3a6f14a99543ff5","unitdate_ssm":["Circa 1930-1949"],"unitdate_inclusive_ssm":["Circa 1930-1949"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["BCHA.1992.10","/repositories/4/resources/77"],"text":["BCHA.1992.10","/repositories/4/resources/77","Rob Rollins Collection, Circa 1930-1949","Hollywood (Fla.)","Dwellings -- Florida -- Hollywood","Bakeries","Cemeteries","Children","Group portraits","Portraits","Rob Rollins Collection is open for research.","The Rob Rollins Collection is organized into six series: Series I. Individual and Group Photographs, Series II. Buildings and Houses, Series III. Landscapes, Series IV. Hollywood Maid Bakery, Series V. Cemetery, and Series VI. Birthday Celebration.","The Rob Rollins Collection received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","The Rob Rollins collection contains 306 photographs in Hollywood, Florida from 1930 to 1949. Photographs include individuals, groups, buildings, homes, landscapes, cemeteries, and Hollywood Maid Bakery."," Broward County Historical Archives","English"],"unitid_tesim":["BCHA.1992.10","/repositories/4/resources/77"],"normalized_date_ssm":["Circa 1930-1949"],"normalized_title_ssm":["Rob Rollins Collection, Circa 1930-1949"],"collection_title_tesim":["Rob Rollins Collection, Circa 1930-1949"],"collection_ssim":["Rob Rollins Collection, Circa 1930-1949"],"repository_ssm":["Broward County Historical Archives"],"repository_ssim":["Broward County Historical Archives"],"geogname_ssm":["Hollywood (Fla.)"],"geogname_ssim":["Hollywood (Fla.)"],"places_ssim":["Hollywood (Fla.)"],"access_subjects_ssim":["Dwellings -- Florida -- Hollywood","Bakeries","Cemeteries","Children","Group portraits","Portraits"],"access_subjects_ssm":["Dwellings -- Florida -- Hollywood","Bakeries","Cemeteries","Children","Group portraits","Portraits"],"has_online_content_ssim":["false"],"extent_ssm":["3 Photograph Binder Box"],"extent_tesim":["3 Photograph Binder Box"],"genreform_ssim":["Group portraits","Portraits"],"date_range_isim":[1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949],"accessrestrict_html_tesm":["\u003cp\u003eRob Rollins Collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Rob Rollins Collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe Rob Rollins Collection is organized into six series: Series I. Individual and Group Photographs, Series II. Buildings and Houses, Series III. Landscapes, Series IV. Hollywood Maid Bakery, Series V. Cemetery, and Series VI. Birthday Celebration.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Rob Rollins Collection is organized into six series: Series I. Individual and Group Photographs, Series II. Buildings and Houses, Series III. Landscapes, Series IV. Hollywood Maid Bakery, Series V. Cemetery, and Series VI. Birthday Celebration."],"prefercite_html_tesm":["\u003cp\u003eRob Rollins Collection, Broward County Historical Archives, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["Rob Rollins Collection, Broward County Historical Archives, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThe Rob Rollins Collection received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The Rob Rollins Collection received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection."],"scopecontent_html_tesm":["\u003cp\u003eThe Rob Rollins collection contains 306 photographs in Hollywood, Florida from 1930 to 1949. Photographs include individuals, groups, buildings, homes, landscapes, cemeteries, and Hollywood Maid Bakery.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Rob Rollins collection contains 306 photographs in Hollywood, Florida from 1930 to 1949. Photographs include individuals, groups, buildings, homes, landscapes, cemeteries, and Hollywood Maid Bakery."],"names_ssim":[" Broward County Historical Archives"],"corpname_ssim":[" Broward County Historical Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":312,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1876457690411040768,"_root_":"b33f8a51d3a6f14a99543ff5","timestamp":"2026-09-16T03:31:45.165Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/b33f8a51d3a6f14a99543ff5_aspace_6540d6464b5f2362515ffc03f628beab"}},{"id":"edfdc548ca396b57df094271_aspace_135467","type":"Series","attributes":{"title":"Birthdays","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/edfdc548ca396b57df094271_aspace_135467#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_135467","ref_ssm":["aspace_135467","aspace_135467"],"id":"edfdc548ca396b57df094271_aspace_135467","title_filing_ssi":"Birthdays","title_ssm":["Birthdays"],"title_tesim":["Birthdays"],"normalized_title_ssm":["Birthdays"],"text":["Birthdays","Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989","Series 8","/repositories/2/archival_objects/54855"],"component_level_isim":[1],"parent_ids_ssim":["edfdc548ca396b57df094271"],"parent_unittitles_ssm":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"parent_unittitles_tesim":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 8","/repositories/2/archival_objects/54855"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":16,"parent_access_terms_tesm":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/for more information."],"_nest_path_":"/components#7","_nest_parent_":"edfdc548ca396b57df094271","_root_":"edfdc548ca396b57df094271","_version_":1870862858498080768,"timestamp":"2026-07-16T09:24:17.667Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"edfdc548ca396b57df094271","title_ssm":["Neidlinger occasion card collection"],"title_tesim":["Neidlinger occasion card collection"],"ead_ssi":"edfdc548ca396b57df094271","unitdate_ssm":["1900-1926","Date acquired: 06/00/1989"],"unitdate_inclusive_ssm":["1900-1926"],"unitdate_other_ssim":["Date acquired: 06/00/1989"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS.1989.01","/repositories/2/resources/344"],"text":["MS.1989.01","/repositories/2/resources/344","Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989","Greeting cards.","Filed by occasion.","Between 1900 and 1926, the Neidlinger family of Evanston, Illinois, received and collected numerous greeting cards, including colorful lithographic post cards.","The 1,000 card collection from the Neidlinger family primarily consists of chromolithographic post cards for the Christmas, Easter, Valentine's Day, and New Year's holidays. It also contains Halloween cards, St. Patrick's Day cards, seasonal greeting cards, get-well cards, birthday cards, invitations, magazine ads, and portraits. All post cards are from the time period between 1905-1915.","None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information.","USF Libraries - Tampa Special Collections","Neidlinger Family","English"],"unitid_tesim":["MS.1989.01","/repositories/2/resources/344"],"normalized_date_ssm":["1900-1926, Date acquired: 06/00/1989"],"normalized_title_ssm":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"collection_title_tesim":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"collection_ssim":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Neidlinger Family"],"creator_ssim":["Neidlinger Family"],"creator_famname_ssim":["Neidlinger Family"],"creators_ssim":["Neidlinger Family"],"access_terms_ssm":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information."],"acqinfo_ssim":["Eleanor Neidlinger, through her niece, Dr. Daphne Rosenzweig","Donation"],"access_subjects_ssim":["Greeting cards."],"access_subjects_ssm":["Greeting cards."],"has_online_content_ssim":["false"],"extent_ssm":["2.86 Linear Feet","6 boxes"],"extent_tesim":["2.86 Linear Feet","6 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],"arrangement_html_tesm":["\u003cp\u003eFiled by occasion.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Filed by occasion."],"bioghist_html_tesm":["\u003cp\u003eBetween 1900 and 1926, the Neidlinger family of Evanston, Illinois, received and collected numerous greeting cards, including colorful lithographic post cards.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Between 1900 and 1926, the Neidlinger family of Evanston, Illinois, received and collected numerous greeting cards, including colorful lithographic post cards."],"prefercite_html_tesm":["\u003cp\u003eNeidlinger occasion card collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Neidlinger occasion card collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe 1,000 card collection from the Neidlinger family primarily consists of chromolithographic post cards for the Christmas, Easter, Valentine's Day, and New Year's holidays. It also contains Halloween cards, St. Patrick's Day cards, seasonal greeting cards, get-well cards, birthday cards, invitations, magazine ads, and portraits. All post cards are from the time period between 1905-1915.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The 1,000 card collection from the Neidlinger family primarily consists of chromolithographic post cards for the Christmas, Easter, Valentine's Day, and New Year's holidays. It also contains Halloween cards, St. Patrick's Day cards, seasonal greeting cards, get-well cards, birthday cards, invitations, magazine ads, and portraits. All post cards are from the time period between 1905-1915."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of this collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/%C2%A0\"\u003ehttp://www.copyright.gov/\u003c/extref\u003efor more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information."],"names_ssim":["USF Libraries - Tampa Special Collections","Neidlinger Family"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"famname_ssim":["Neidlinger Family"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":29,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870862858498080768,"_root_":"edfdc548ca396b57df094271","timestamp":"2026-07-16T09:24:17.667Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/edfdc548ca396b57df094271_aspace_135467"}},{"id":"667527c7f8226c6a0ba6b7d6_aspace_b180ed2b4eadcb403a83501a405d3c71","type":"Series","attributes":{"title":"Biscayne Bay","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/667527c7f8226c6a0ba6b7d6_aspace_b180ed2b4eadcb403a83501a405d3c71#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_b180ed2b4eadcb403a83501a405d3c71","ref_ssm":["aspace_b180ed2b4eadcb403a83501a405d3c71","aspace_b180ed2b4eadcb403a83501a405d3c71"],"id":"667527c7f8226c6a0ba6b7d6_aspace_b180ed2b4eadcb403a83501a405d3c71","title_filing_ssi":"Biscayne Bay","title_ssm":["Biscayne Bay"],"title_tesim":["Biscayne Bay"],"normalized_title_ssm":["Biscayne Bay"],"text":["Biscayne Bay","Peter Harlem Papers, 1940-2010","/repositories/2/archival_objects/89351"],"component_level_isim":[1],"parent_ids_ssim":["667527c7f8226c6a0ba6b7d6"],"parent_unittitles_ssm":["Peter Harlem Papers, 1940-2010"],"parent_unittitles_tesim":["Peter Harlem Papers, 1940-2010"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/2/archival_objects/89351"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Peter Harlem Papers, 1940-2010"],"has_online_content_ssim":["false"],"child_component_count_isi":3,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":11,"parent_access_restrict_tesm":["The collection is open for research"],"parent_access_terms_tesm":["Special Collections and University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections."],"_nest_path_":"/components#1","_nest_parent_":"667527c7f8226c6a0ba6b7d6","_root_":"667527c7f8226c6a0ba6b7d6","_version_":1870844501490139136,"timestamp":"2026-07-16T04:32:31.059Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"667527c7f8226c6a0ba6b7d6","title_ssm":["Peter Harlem Papers"],"title_tesim":["Peter Harlem Papers"],"ead_ssi":"667527c7f8226c6a0ba6b7d6","unitdate_ssm":["1940-2010"],"unitdate_inclusive_ssm":["1940-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC.9055","/repositories/2/resources/136"],"text":["SPC.9055","/repositories/2/resources/136","Peter Harlem Papers, 1940-2010","GIS Coordinator -- Geologist -- Florida International University -- Miami, Florida -- Biscayne Bay  -- Climate Change -- Maps","The collection is open for research","Peter Harlem was born on November 15, 1948 in Fort Sill Oklahoma. His father was in the army so Harlem spent his childhood moving around to places like Japan, Korea, Panama and many others, before finally settling in Massachusetts. At 20 years old Harlem served in the Vietnam War and become an expert on Vietnam history. He collected thousands of Vietnam war photographs and item which he donated to FIU's Digital Collection department. After coming back from the war Peter got his Masters in Marine Geology, In 1999 he got hired by FIU to work in the Division of Research and Economic Development. In 2002, Harlem worked as a research geologist at the Southeast Environmental Research Center (SERC).  In 2012, Harlem was appointed GIS Coordinator for the GIS Center. Harlem died in 2016 after battling cancer. Harlem's research and maps are still being used today to predict sea level rise in the fight against climate change.","This collection contains the career of Peter Harlem. Peter Harlem was a GIS Coordinator for GIS Center located in the Green Library. He was also research geologist at the Southeast Environmental Research Center (SERC) where he worked on mapping sea level rise using LiDar. His collection includes topographical maps of South Florida and research on climate change, sea level rise and Biscayne Bay National Park.","Special Collections and University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.","FIU Special Collections","English"],"unitid_tesim":["SPC.9055","/repositories/2/resources/136"],"normalized_date_ssm":["1940-2010"],"normalized_title_ssm":["Peter Harlem Papers, 1940-2010"],"collection_title_tesim":["Peter Harlem Papers, 1940-2010"],"collection_ssim":["Peter Harlem Papers, 1940-2010"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Special Collections and University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections."],"access_subjects_ssim":["GIS Coordinator -- Geologist -- Florida International University -- Miami, Florida -- Biscayne Bay  -- Climate Change -- Maps"],"access_subjects_ssm":["GIS Coordinator -- Geologist -- Florida International University -- Miami, Florida -- Biscayne Bay  -- Climate Change -- Maps"],"has_online_content_ssim":["false"],"extent_ssm":["4.50 Linear Feet"],"extent_tesim":["4.50 Linear Feet"],"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\u003ePeter Harlem was born on November 15, 1948 in Fort Sill Oklahoma. His father was in the army so Harlem spent his childhood moving around to places like Japan, Korea, Panama and many others, before finally settling in Massachusetts. At 20 years old Harlem served in the Vietnam War and become an expert on Vietnam history. He collected thousands of Vietnam war photographs and item which he donated to FIU's Digital Collection department. After coming back from the war Peter got his Masters in Marine Geology, In 1999 he got hired by FIU to work in the Division of Research and Economic Development. In 2002, Harlem worked as a research geologist at the Southeast Environmental Research Center (SERC).  In 2012, Harlem was appointed GIS Coordinator for the GIS Center. Harlem died in 2016 after battling cancer. 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Harlem died in 2016 after battling cancer. Harlem's research and maps are still being used today to predict sea level rise in the fight against climate change."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the career of Peter Harlem. Peter Harlem was a GIS Coordinator for GIS Center located in the Green Library. He was also research geologist at the Southeast Environmental Research Center (SERC) where he worked on mapping sea level rise using LiDar. His collection includes topographical maps of South Florida and research on climate change, sea level rise and Biscayne Bay National Park.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains the career of Peter Harlem. Peter Harlem was a GIS Coordinator for GIS Center located in the Green Library. He was also research geologist at the Southeast Environmental Research Center (SERC) where he worked on mapping sea level rise using LiDar. His collection includes topographical maps of South Florida and research on climate change, sea level rise and Biscayne Bay National Park."],"userestrict_html_tesm":["\u003cp\u003eSpecial Collections and University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Special Collections and University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections."],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English"],"total_component_count_is":156,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844501490139136,"_root_":"667527c7f8226c6a0ba6b7d6","timestamp":"2026-07-16T04:32:31.059Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/667527c7f8226c6a0ba6b7d6_aspace_b180ed2b4eadcb403a83501a405d3c71"}},{"id":"180af78ecdca8263f78c4ba5_aspace_2a710945f2e2c63fc46c386e6b47784e","type":"Series","attributes":{"title":"Bishop John W. Branscomb Auditorium","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/180af78ecdca8263f78c4ba5_aspace_2a710945f2e2c63fc46c386e6b47784e#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_2a710945f2e2c63fc46c386e6b47784e","ref_ssm":["aspace_2a710945f2e2c63fc46c386e6b47784e","aspace_2a710945f2e2c63fc46c386e6b47784e"],"id":"180af78ecdca8263f78c4ba5_aspace_2a710945f2e2c63fc46c386e6b47784e","title_filing_ssi":"Bishop John W. Branscomb Auditorium","title_ssm":["Bishop John W. Branscomb Auditorium"],"title_tesim":["Bishop John W. Branscomb Auditorium"],"normalized_title_ssm":["Bishop John W. Branscomb Auditorium"],"text":["Bishop John W. Branscomb Auditorium","Florida Southern College Buildings and Grounds--Drawings and Blueprints, 1922-2024","/repositories/4/archival_objects/41871","Cabinet B","Drawer 3"],"component_level_isim":[1],"parent_ids_ssim":["180af78ecdca8263f78c4ba5"],"parent_unittitles_ssm":["Florida Southern College Buildings and Grounds--Drawings and Blueprints, 1922-2024"],"parent_unittitles_tesim":["Florida Southern College Buildings and Grounds--Drawings and Blueprints, 1922-2024"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/4/archival_objects/41871"],"repository_ssim":["The Florida Southern College Archives"],"collection_ssim":["Florida Southern College Buildings and Grounds--Drawings and Blueprints, 1922-2024"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":260,"parent_access_restrict_tesm":["This collection is open for research. For security reasons, the archives reserves the right to restrict access to certain materials related to buidlings in active use. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital material."],"parent_access_terms_tesm":["This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Please inquire if you have questions -archives@flsouthern.edu."],"containers_ssim":["Cabinet B","Drawer 3"],"_nest_path_":"/components#11","_nest_parent_":"180af78ecdca8263f78c4ba5","_root_":"180af78ecdca8263f78c4ba5","_version_":1870846333154230272,"timestamp":"2026-07-16T05:01:37.867Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"180af78ecdca8263f78c4ba5","title_ssm":["Florida Southern College Buildings and Grounds--Drawings and Blueprints"],"title_tesim":["Florida Southern College Buildings and Grounds--Drawings and Blueprints"],"ead_ssi":"180af78ecdca8263f78c4ba5","unitdate_ssm":["1922-2024"],"unitdate_inclusive_ssm":["1922-2024"],"level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["CA6000-1","/repositories/4/resources/140"],"text":["CA6000-1","/repositories/4/resources/140","Florida Southern College Buildings and Grounds--Drawings and Blueprints, 1922-2024","College buildings--Florida--Lakeland.","College buildings—Florida—Lakeland","College buildings","Florida Southern College—History","Architectural Drawing","Wright, Frank Lloyd, 1867-1959","Frank Lloyd Wright—Influence","Campus planning—Florida—Lakeland","Architectural drawings","Architectural drawing","This collection is open for research. For security reasons, the archives reserves the right to restrict access to certain materials related to buidlings in active use. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital material.","The blueprints, site plans, and architectural drawings in this collection were created and used by Frank Lloyd Wright, Nils M. Schweitzer, Robert Law Weed, and others during the design and construction of Florida Southern College's Lakeland campus. When FSC first moved to Lakeland in 1922, two permanant brick buildings were constructed: E.E. Edge Hall and Joseph Reynolds Hall. In the 1930s, Alan Spivey Hall, the Fannin Building, and Gilbert Gymnaseum were constructed, as well as a few other campus features. 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Please inquire if you have questions -archives@flsouthern.edu.","The Florida Southern College Archives","English"],"unitid_tesim":["CA6000-1","/repositories/4/resources/140"],"normalized_date_ssm":["1922-2024"],"normalized_title_ssm":["Florida Southern College Buildings and Grounds--Drawings and Blueprints, 1922-2024"],"collection_title_tesim":["Florida Southern College Buildings and Grounds--Drawings and Blueprints, 1922-2024"],"collection_ssim":["Florida Southern College Buildings and Grounds--Drawings and Blueprints, 1922-2024"],"repository_ssm":["The Florida Southern College Archives"],"repository_ssim":["The Florida Southern College Archives"],"access_terms_ssm":["This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). 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For security reasons, the archives reserves the right to restrict access to certain materials related to buidlings in active use. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital material.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. For security reasons, the archives reserves the right to restrict access to certain materials related to buidlings in active use. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital material."],"bioghist_html_tesm":["\u003cp\u003eThe blueprints, site plans, and architectural drawings in this collection were created and used by Frank Lloyd Wright, Nils M. Schweitzer, Robert Law Weed, and others during the design and construction of Florida Southern College's Lakeland campus. When FSC first moved to Lakeland in 1922, two permanant brick buildings were constructed: E.E. Edge Hall and Joseph Reynolds Hall. In the 1930s, Alan Spivey Hall, the Fannin Building, and Gilbert Gymnaseum were constructed, as well as a few other campus features. In 1938, looking to make a spash and put the college \"on the map,\" President Ludd M. Spivey sent a telegram to Frank Lloyd Wright, inviting him to build a \"Great Temple of Education.\" Wright accepted, and over the next twenty years designed nineteen buildings and structures, twelve of which were built. \u003c/p\u003e\n","\u003cp\u003eIn the late 1940s Orlando-based architect Nils M. Schweitzer, who had been trained by Wright, became the site manager. He went on to design several more buildings for the college during the 1960s, 1970s, and 1980s, including the impressive Bishop John Branscomb Auditorium. \u003c/p\u003e\n","\u003cp\u003eMiami architect Robert Law Weed designed much of the east side of campus, including veterans' dormitories, the Herbert E. Wolfe Building, and the Panhellenic Dorms. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The blueprints, site plans, and architectural drawings in this collection were created and used by Frank Lloyd Wright, Nils M. 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","Miami architect Robert Law Weed designed much of the east side of campus, including veterans' dormitories, the Herbert E. Wolfe Building, and the Panhellenic Dorms. "],"otherfindaid_html_tesm":["\u003cp\u003eThis is a sub-group of CA6000 Florida Southern College Buildings and Grounds.\u003c/p\u003e"],"otherfindaid_heading_ssm":["Other Finding Aids"],"otherfindaid_tesim":["This is a sub-group of CA6000 Florida Southern College Buildings and Grounds."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection were created by the architects, their designated representatives, and other entities involved in the design and construction of campus buildings. Please note that some blueprints are original and initialed by the architect, while others are copies made for use on site.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection were created by the architects, their designated representatives, and other entities involved in the design and construction of campus buildings. Please note that some blueprints are original and initialed by the architect, while others are copies made for use on site."],"userestrict_html_tesm":["\u003cp\u003eThis collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Please inquire if you have questions -archives@flsouthern.edu.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Please inquire if you have questions -archives@flsouthern.edu."],"names_ssim":["The Florida Southern College Archives"],"corpname_ssim":["The Florida Southern College Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":379,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870846333154230272,"_root_":"180af78ecdca8263f78c4ba5","timestamp":"2026-07-16T05:01:37.867Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/180af78ecdca8263f78c4ba5_aspace_2a710945f2e2c63fc46c386e6b47784e"}},{"id":"cff9b14c5a99a9dd532f3b54_aspace_02b3fdcd1ebcceffd20ca340f5b7401f","type":"Series","attributes":{"title":"Bishops","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/cff9b14c5a99a9dd532f3b54_aspace_02b3fdcd1ebcceffd20ca340f5b7401f#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_02b3fdcd1ebcceffd20ca340f5b7401f","ref_ssm":["aspace_02b3fdcd1ebcceffd20ca340f5b7401f","aspace_02b3fdcd1ebcceffd20ca340f5b7401f"],"id":"cff9b14c5a99a9dd532f3b54_aspace_02b3fdcd1ebcceffd20ca340f5b7401f","title_filing_ssi":"Bishops","title_ssm":["Bishops"],"title_tesim":["Bishops"],"normalized_title_ssm":["Bishops"],"text":["Bishops","David Bien Papers, Date acquired: 09/28/2017","Notecards by Topic","/repositories/10/archival_objects/244813","box 20"],"component_level_isim":[2],"parent_ids_ssim":["cff9b14c5a99a9dd532f3b54","cff9b14c5a99a9dd532f3b54_aspace_911a2d1d3ded06c7d56ed066a1431a80"],"parent_unittitles_ssm":["David Bien Papers, Date acquired: 09/28/2017","Notecards by Topic"],"parent_unittitles_tesim":["David Bien Papers, Date acquired: 09/28/2017","Notecards by Topic"],"parent_levels_ssm":["collection","Container"],"unitid_ssm":["/repositories/10/archival_objects/244813"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["David Bien Papers, Date acquired: 09/28/2017"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":373,"parent_access_restrict_tesm":["This collection is open to all researchers.","This collection is in an offsite storage location. 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Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","David Duckworth Bien was born to David William Bien and Cecile Marie (Dubois) Bien on April 2, 1930 in Baltimore, Maryland.\n Bien earned an A.B. degree from Washington and Lee University (1951) and M.A. and Ph.D. degrees in History from Harvard University (1956). Bien taught at Weseleyan University (1958-1959), Princeton University (1959-1967), and the University of Michigan (1967-1996). At the latter institution Bien also served as Chair of the Department of History and was appointed Professor Emeritus of French History upon retirement.\n Bien's research and scholarship on eighteenth century France, the ancien régime, and the origins of the French Revolution are acknowledged as globally influential in the field of French History. Bien was twice awarded the William Koren Prize by the Society for French Historical Studies (1958, 1978).","Bien passed away September 25, 2015 in Ann Arbor, Michigan after a lengthy illness.\n","Sources David D. Bien (September 27, 2015).  Ann Arbor News .  http://obits.mlive.com/obituaries/annarbor/obituary.aspx?pid=175938390 Gail Bossenga.  In Memoriam: David D. Bien (1930-2015) .  http://www.h-france.net/Salon/Salon8BienInMemoriam.pdf","Note written by R. Grennan","Materials were shipped to FSU History Department from Ann Arbor, MI by Prof. Rafe Blaufarb in late 2016. Transferred to Strozier Library from History Department in August 2017. Deed of Gift executed in September 2017.","David D. Bien (1960).  The Calas Affair . Princeton, NJ: Princeton University Press.  http://fsu.catalog.fcla.edu/permalink.jsp?23FS021224595","Robert M. Schwartz \u0026 Robert A. Schneider (Eds.). (2003). \"Publications of David D. Bien,\" in  Tocqueville and Beyond: Essays On the Old Regime In Honor Of David D. Bien . Newark: University of Delware Press.  http://fsu.catalog.fcla.edu/permalink.jsp?23FS021258363","Rafe Blaufarb et al. (Eds.). (2014).  Interpreting the Ancien Régime: David Bien . Oxford: Voltaire Foundation.  http://fsu.catalog.fcla.edu/permalink.jsp?23FS033273888","Correspondence, research materials, publications, and original scholarship collected by David Bien, documenting research on the French Revolution and the  ancien régime .","The following volume was removed to the French Revolution and Napoleon book collection:\n Marc Venard (1957).  Bourgeois et Paysans au XVIIe si ècle.  Paris: SEVPEN.","FSU Special Collections \u0026 Archives","English French"],"unitid_tesim":["MSS 2017-005","/repositories/10/resources/352"],"normalized_date_ssm":["Date acquired: 09/28/2017"],"normalized_title_ssm":["David Bien Papers, Date acquired: 09/28/2017"],"collection_title_tesim":["David Bien Papers, Date acquired: 09/28/2017"],"collection_ssim":["David Bien Papers, Date acquired: 09/28/2017"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"acqinfo_ssim":["Margaret C. Bien","Deed of Gift"],"access_subjects_ssim":["French Revolution"],"access_subjects_ssm":["French Revolution"],"has_online_content_ssim":["false"],"extent_ssm":["26.00 boxes 26 Boxes","24.75 Linear Feet"],"extent_tesim":["26.00 boxes 26 Boxes","24.75 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers.\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":["This collection is open to all researchers.","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\u003eDavid Duckworth Bien was born to David William Bien and Cecile Marie (Dubois) Bien on April 2, 1930 in Baltimore, Maryland.\n\u003cbr\u003e\u003cbr\u003eBien earned an A.B. degree from Washington and Lee University (1951) and M.A. and Ph.D. degrees in History from Harvard University (1956). Bien taught at Weseleyan University (1958-1959), Princeton University (1959-1967), and the University of Michigan (1967-1996). At the latter institution Bien also served as Chair of the Department of History and was appointed Professor Emeritus of French History upon retirement.\n\u003cbr\u003e\u003cbr\u003eBien's research and scholarship on eighteenth century France, the ancien r\u0026#xE9;gime, and the origins of the French Revolution are acknowledged as globally influential in the field of French History. Bien was twice awarded the William Koren Prize by the Society for French Historical Studies (1958, 1978).\u003c/p\u003e\n","\u003cp\u003eBien passed away September 25, 2015 in Ann Arbor, Michigan after a lengthy illness.\n\u003cbr\u003e\u003cbr\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"underline\"\u003eSources\u003c/emph\u003e\n\u003cbr\u003e\u003cbr\u003eDavid D. Bien (September 27, 2015). \u003cemph render=\"italic\"\u003eAnn Arbor News\u003c/emph\u003e. \u003cextref href=\"http://obits.mlive.com/obituaries/annarbor/obituary.aspx?pid=175938390\"\u003ehttp://obits.mlive.com/obituaries/annarbor/obituary.aspx?pid=175938390\u003c/extref\u003e\n\u003cbr\u003e\u003cbr\u003eGail Bossenga. \u003cemph render=\"italic\"\u003eIn Memoriam: David D. Bien (1930-2015)\u003c/emph\u003e. \u003cextref href=\"http://www.h-france.net/Salon/Salon8BienInMemoriam.pdf\"\u003ehttp://www.h-france.net/Salon/Salon8BienInMemoriam.pdf\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eNote written by R. Grennan\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["David Duckworth Bien was born to David William Bien and Cecile Marie (Dubois) Bien on April 2, 1930 in Baltimore, Maryland.\n Bien earned an A.B. degree from Washington and Lee University (1951) and M.A. and Ph.D. degrees in History from Harvard University (1956). Bien taught at Weseleyan University (1958-1959), Princeton University (1959-1967), and the University of Michigan (1967-1996). At the latter institution Bien also served as Chair of the Department of History and was appointed Professor Emeritus of French History upon retirement.\n Bien's research and scholarship on eighteenth century France, the ancien régime, and the origins of the French Revolution are acknowledged as globally influential in the field of French History. Bien was twice awarded the William Koren Prize by the Society for French Historical Studies (1958, 1978).","Bien passed away September 25, 2015 in Ann Arbor, Michigan after a lengthy illness.\n","Sources David D. Bien (September 27, 2015).  Ann Arbor News .  http://obits.mlive.com/obituaries/annarbor/obituary.aspx?pid=175938390 Gail Bossenga.  In Memoriam: David D. Bien (1930-2015) .  http://www.h-france.net/Salon/Salon8BienInMemoriam.pdf","Note written by R. Grennan"],"custodhist_html_tesm":["\u003cp\u003eMaterials were shipped to FSU History Department from Ann Arbor, MI by Prof. Rafe Blaufarb in late 2016. Transferred to Strozier Library from History Department in August 2017. Deed of Gift executed in September 2017.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Materials were shipped to FSU History Department from Ann Arbor, MI by Prof. Rafe Blaufarb in late 2016. Transferred to Strozier Library from History Department in August 2017. Deed of Gift executed in September 2017."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], David Bien Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/MSS_2017-005\"\u003ehttp://purl.fcla.edu/fsu/MSS_2017-005\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], David Bien Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/MSS_2017-005"],"relatedmaterial_html_tesm":["\u003cp\u003eDavid D. Bien (1960). \u003cemph render=\"italic\"\u003eThe Calas Affair\u003c/emph\u003e. Princeton, NJ: Princeton University Press. \u003cextref href=\"http://fsu.catalog.fcla.edu/permalink.jsp?23FS021224595\"\u003ehttp://fsu.catalog.fcla.edu/permalink.jsp?23FS021224595\u003c/extref\u003e\u003cbr\u003e\u003cbr\u003e\u003c/p\u003e\n","\u003cp\u003eRobert M. Schwartz \u0026amp; Robert A. Schneider (Eds.). (2003). \"Publications of David D. Bien,\" in \u003cemph render=\"italic\"\u003eTocqueville and Beyond: Essays On the Old Regime In Honor Of David D. Bien\u003c/emph\u003e. Newark: University of Delware Press. \u003cextref href=\"http://fsu.catalog.fcla.edu/permalink.jsp?23FS021258363\"\u003ehttp://fsu.catalog.fcla.edu/permalink.jsp?23FS021258363\u003c/extref\u003e\u003cbr\u003e\u003cbr\u003e\u003c/p\u003e\n","\u003cp\u003eRafe Blaufarb et al. (Eds.). (2014). \u003cemph render=\"italic\"\u003eInterpreting the Ancien R\u0026#xE9;gime: David Bien\u003c/emph\u003e. Oxford: Voltaire Foundation. \u003cextref href=\"http://fsu.catalog.fcla.edu/permalink.jsp?23FS033273888\"\u003ehttp://fsu.catalog.fcla.edu/permalink.jsp?23FS033273888\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Publications"],"relatedmaterial_tesim":["David D. Bien (1960).  The Calas Affair . Princeton, NJ: Princeton University Press.  http://fsu.catalog.fcla.edu/permalink.jsp?23FS021224595","Robert M. Schwartz \u0026 Robert A. Schneider (Eds.). (2003). \"Publications of David D. Bien,\" in  Tocqueville and Beyond: Essays On the Old Regime In Honor Of David D. Bien . Newark: University of Delware Press.  http://fsu.catalog.fcla.edu/permalink.jsp?23FS021258363","Rafe Blaufarb et al. (Eds.). (2014).  Interpreting the Ancien Régime: David Bien . Oxford: Voltaire Foundation.  http://fsu.catalog.fcla.edu/permalink.jsp?23FS033273888"],"scopecontent_html_tesm":["\u003cp\u003eCorrespondence, research materials, publications, and original scholarship collected by David Bien, documenting research on the French Revolution and the \u003cemph render=\"italic\"\u003eancien r\u0026#xE9;gime\u003c/emph\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Correspondence, research materials, publications, and original scholarship collected by David Bien, documenting research on the French Revolution and the  ancien régime ."],"separatedmaterial_html_tesm":["\u003cp\u003eThe following volume was removed to the French Revolution and Napoleon book collection:\n\u003cbr\u003e\u003cbr\u003eMarc Venard (1957). \u003cemph render=\"italic\"\u003eBourgeois et Paysans au XVIIe si\u003c/emph\u003e\u003cemph render=\"italic\"\u003e\u0026#xE8;cle. \u003c/emph\u003eParis: SEVPEN.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["The following volume was removed to the French Revolution and Napoleon book collection:\n Marc Venard (1957).  Bourgeois et Paysans au XVIIe si ècle.  Paris: SEVPEN."],"names_ssim":["FSU Special Collections \u0026 Archives"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"language_ssim":["English French"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":420,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870858733102301184,"_root_":"cff9b14c5a99a9dd532f3b54","timestamp":"2026-07-16T08:18:43.378Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/cff9b14c5a99a9dd532f3b54_aspace_02b3fdcd1ebcceffd20ca340f5b7401f"}},{"id":"31b2b8188273d57943cd6b2d_aspace_631d1a78e6ba44501d47ce8d08541f47","type":"Series","attributes":{"title":"Bittman, Roxanne, 1991-1996","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/31b2b8188273d57943cd6b2d_aspace_631d1a78e6ba44501d47ce8d08541f47#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_631d1a78e6ba44501d47ce8d08541f47","ref_ssm":["aspace_631d1a78e6ba44501d47ce8d08541f47","aspace_631d1a78e6ba44501d47ce8d08541f47"],"id":"31b2b8188273d57943cd6b2d_aspace_631d1a78e6ba44501d47ce8d08541f47","title_filing_ssi":"Bittman, Roxanne","title_ssm":["Bittman, Roxanne"],"title_tesim":["Bittman, Roxanne"],"unitdate_inclusive_ssm":["1991-1996"],"normalized_date_ssm":["1991-1996"],"normalized_title_ssm":["Bittman, Roxanne, 1991-1996"],"text":["Bittman, Roxanne, 1991-1996","Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018","Correspondence","21","/repositories/10/archival_objects/233962","box 8"],"component_level_isim":[2],"parent_ids_ssim":["31b2b8188273d57943cd6b2d","31b2b8188273d57943cd6b2d_aspace_5177a1904afce5f5a63bb06b4d0838a9"],"parent_unittitles_ssm":["Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018","Correspondence"],"parent_unittitles_tesim":["Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018","Correspondence"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["21","/repositories/10/archival_objects/233962"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":113,"parent_access_restrict_tesm":["Access to personal journals, unpublished articles, and unpublished monographs by D. Bruce Means is restricted. These materials may be accessed with written permission from D. Bruce Means.","All other materials are open to all researchers. ","Some of 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."],"containers_ssim":["box 8"],"_nest_path_":"/components#4/components#20","_nest_parent_":"31b2b8188273d57943cd6b2d_aspace_5177a1904afce5f5a63bb06b4d0838a9","_root_":"31b2b8188273d57943cd6b2d","_version_":1870858680245682176,"timestamp":"2026-07-16T08:17:52.972Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"31b2b8188273d57943cd6b2d","title_filing_ssi":"Means, Bruce Papers","title_ssm":["Bruce Means Papers"],"title_tesim":["Bruce Means Papers"],"ead_ssi":"31b2b8188273d57943cd6b2d","unitdate_ssm":["1941-1965","Date acquired: 07/06/2018"],"unitdate_other_ssim":["1941-1965","Date acquired: 07/06/2018"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2018-004","/repositories/10/resources/307"],"text":["MSS 2018-004","/repositories/10/resources/307","Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018","Access to personal journals, unpublished articles, and unpublished monographs by D. Bruce Means is restricted. These materials may be accessed with written permission from D. Bruce Means.","All other materials are open to all researchers. ","Some of this collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","unarranged","Dr. Bruce Means is a research ecologist, author, and consultant. His research includes ecosystems of the southeastern United States, fire ecology, the natural history of South American tepuis, biogeography, conservation, endangered species, and the evolution and natural history of amphibians and reptiles.","Donald Bruce Means was born March 9, 1941, in Los Angeles, California. ","Means recieved a Bachelor of Science in Biology from Florida State University (FSU) in 1968. He earned a Master of Science in Ecology in 1972 and a PhD in Ecology in 1975. He served as a teaching assistant at FSU from 1968-1970, and Adjunct Professor in Biological Science at FSU starting in 1976.","Means's field experience as a research ecologist includes the Florida Panhandle, Southeastern United States, Alaska, South America, Mexico, and the Caribbean Sea.","His publications include scientific articles, technical reports, and popular articles in National Wildlife, International Wildlife, Natural History, BBC Wildlife, National Geographic, Fauna, South American Explorer, and other magazines. His books include two on the ecology of Florida and \"Herpetophilia, Love of Creeping, Crawling Things.\" He has featured in documentary films for National Geographic Television, BBC Television, and PBS.","Means is Founder and President Emeritus of the Coastal Plains Institute, Tallahassee, Florida.","Sources \nD. Bruce Means PhD.  http://www.brucemeans.com/ \nCoastal Plains Institute. \"About Us.\"  https://www.coastalplains.org/main/about-us/","Motion picture content may not be available upon request. For more information on this collection please contact Special Collections \u0026 Archives staff at 850-644-3271 or lib-specialcollections@fsu.edu.","Field notes, biological and ecological data, journals, subject files, and audiovisual recordings documenting the research, professional output, and personal life of Bruce Means.","https://repository.lib.fsu.edu/islandora/object/fsu:meanspapers","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":["MSS 2018-004","/repositories/10/resources/307"],"normalized_date_ssm":["1941-1965, Date acquired: 07/06/2018"],"normalized_title_ssm":["Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018"],"collection_title_tesim":["Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018"],"collection_ssim":["Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018"],"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":["Donated by Bruce Means between July 2018 and November 2019. Deed of Gift for family films executed in 2018."],"has_online_content_ssim":["false"],"extent_ssm":["8.00 Linear Feet 7 boxes, 20 reels","32 Reels","22.4 Gigabytes"],"extent_tesim":["8.00 Linear Feet 7 boxes, 20 reels","32 Reels","22.4 Gigabytes"],"physfacet_tesim":["paper documents and audiovisual media","8 mm film reels","3,427 Files, 124 Folders"],"accessrestrict_html_tesm":["\u003cp\u003eAccess to personal journals, unpublished articles, and unpublished monographs by D. Bruce Means is restricted. These materials may be accessed with written permission from D. Bruce Means.\u003c/p\u003e\n","\u003cp\u003eAll other materials are open to all researchers. \u003c/p\u003e\n","\u003cp\u003eSome of this 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 personal journals, unpublished articles, and unpublished monographs by D. Bruce Means is restricted. These materials may be accessed with written permission from D. Bruce Means.","All other materials are open to all researchers. ","Some of this collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"arrangement_html_tesm":["\u003cp\u003eunarranged\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["unarranged"],"bioghist_html_tesm":["\u003cp\u003eDr. Bruce Means is a research ecologist, author, and consultant. His research includes ecosystems of the southeastern United States, fire ecology, the natural history of South American tepuis, biogeography, conservation, endangered species, and the evolution and natural history of amphibians and reptiles.\u003c/p\u003e\n","\u003cp\u003eDonald Bruce Means was born March 9, 1941, in Los Angeles, California. \u003c/p\u003e\n","\u003cp\u003eMeans recieved a Bachelor of Science in Biology from Florida State University (FSU) in 1968. He earned a Master of Science in Ecology in 1972 and a PhD in Ecology in 1975. He served as a teaching assistant at FSU from 1968-1970, and Adjunct Professor in Biological Science at FSU starting in 1976.\u003c/p\u003e\n","\u003cp\u003eMeans's field experience as a research ecologist includes the Florida Panhandle, Southeastern United States, Alaska, South America, Mexico, and the Caribbean Sea.\u003c/p\u003e\n","\u003cp\u003eHis publications include scientific articles, technical reports, and popular articles in National Wildlife, International Wildlife, Natural History, BBC Wildlife, National Geographic, Fauna, South American Explorer, and other magazines. His books include two on the ecology of Florida and \"Herpetophilia, Love of Creeping, Crawling Things.\" He has featured in documentary films for National Geographic Television, BBC Television, and PBS.\u003c/p\u003e\n","\u003cp\u003eMeans is Founder and President Emeritus of the Coastal Plains Institute, Tallahassee, Florida.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"bold\"\u003eSources\u003c/emph\u003e\nD. Bruce Means PhD. \u003cextref href=\"http://www.brucemeans.com/\"\u003ehttp://www.brucemeans.com/\u003c/extref\u003e\nCoastal Plains Institute. \"About Us.\" \u003cextref href=\"https://www.coastalplains.org/main/about-us/\"\u003ehttps://www.coastalplains.org/main/about-us/\u003c/extref\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Dr. Bruce Means is a research ecologist, author, and consultant. His research includes ecosystems of the southeastern United States, fire ecology, the natural history of South American tepuis, biogeography, conservation, endangered species, and the evolution and natural history of amphibians and reptiles.","Donald Bruce Means was born March 9, 1941, in Los Angeles, California. ","Means recieved a Bachelor of Science in Biology from Florida State University (FSU) in 1968. He earned a Master of Science in Ecology in 1972 and a PhD in Ecology in 1975. He served as a teaching assistant at FSU from 1968-1970, and Adjunct Professor in Biological Science at FSU starting in 1976.","Means's field experience as a research ecologist includes the Florida Panhandle, Southeastern United States, Alaska, South America, Mexico, and the Caribbean Sea.","His publications include scientific articles, technical reports, and popular articles in National Wildlife, International Wildlife, Natural History, BBC Wildlife, National Geographic, Fauna, South American Explorer, and other magazines. His books include two on the ecology of Florida and \"Herpetophilia, Love of Creeping, Crawling Things.\" He has featured in documentary films for National Geographic Television, BBC Television, and PBS.","Means is Founder and President Emeritus of the Coastal Plains Institute, Tallahassee, Florida.","Sources \nD. Bruce Means PhD.  http://www.brucemeans.com/ \nCoastal Plains Institute. \"About Us.\"  https://www.coastalplains.org/main/about-us/"],"phystech_html_tesm":["\u003cp\u003eMotion picture content may not be available upon request. For more information on this collection please contact Special Collections \u0026amp; Archives staff at 850-644-3271 or lib-specialcollections@fsu.edu.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Access Requirements"],"phystech_tesim":["Motion picture content may not be available upon request. For more information on this collection please contact Special Collections \u0026 Archives staff at 850-644-3271 or lib-specialcollections@fsu.edu."],"prefercite_html_tesm":["\u003cp\u003eBruce Means Papers, MSS 2018-004, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/MSS_2018-004\"\u003ehttp://purl.fcla.edu/fsu/MSS_2018-004\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["Bruce Means Papers, MSS 2018-004, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/MSS_2018-004"],"scopecontent_html_tesm":["\u003cp\u003eField notes, biological and ecological data, journals, subject files, and audiovisual recordings documenting the research, professional output, and personal life of Bruce Means.\u003c/p\u003e","\u003cp\u003e\u003cextref href=\"https://repository.lib.fsu.edu/islandora/object/fsu:meanspapers\"\u003ehttps://repository.lib.fsu.edu/islandora/object/fsu:meanspapers\u003c/extref\u003e\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Online Copies Available"],"scopecontent_tesim":["Field notes, biological and ecological data, journals, subject files, and audiovisual recordings documenting the research, professional output, and personal life of Bruce Means.","https://repository.lib.fsu.edu/islandora/object/fsu:meanspapers"],"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":393,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870858680245682176,"_root_":"31b2b8188273d57943cd6b2d","timestamp":"2026-07-16T08:17:52.972Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/31b2b8188273d57943cd6b2d_aspace_631d1a78e6ba44501d47ce8d08541f47"}},{"id":"5a8c017f195257c53ab4b9c5_aspace_1f2f87fbb0b9a96f5891c16855372d51","type":"Series","attributes":{"title":"Blackfire Magazine","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/5a8c017f195257c53ab4b9c5_aspace_1f2f87fbb0b9a96f5891c16855372d51#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_1f2f87fbb0b9a96f5891c16855372d51","ref_ssm":["aspace_1f2f87fbb0b9a96f5891c16855372d51","aspace_1f2f87fbb0b9a96f5891c16855372d51"],"id":"5a8c017f195257c53ab4b9c5_aspace_1f2f87fbb0b9a96f5891c16855372d51","title_filing_ssi":"Blackfire Magazine","title_ssm":["Blackfire Magazine"],"title_tesim":["Blackfire Magazine"],"normalized_title_ssm":["Blackfire Magazine"],"text":["Blackfire Magazine","Alan Bell Collection, 1988-1998","/repositories/2/archival_objects/1102"],"component_level_isim":[1],"parent_ids_ssim":["5a8c017f195257c53ab4b9c5"],"parent_unittitles_ssm":["Alan Bell Collection, 1988-1998"],"parent_unittitles_tesim":["Alan Bell Collection, 1988-1998"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/2/archival_objects/1102"],"repository_ssim":["AARLCC Special Collections"],"collection_ssim":["Alan Bell Collection, 1988-1998"],"has_online_content_ssim":["false"],"child_component_count_isi":5,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":48,"parent_access_restrict_tesm":["Collection is open for research."],"_nest_path_":"/components#3","_nest_parent_":"5a8c017f195257c53ab4b9c5","_root_":"5a8c017f195257c53ab4b9c5","_version_":1870838793598140416,"timestamp":"2026-07-16T03:01:47.590Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"5a8c017f195257c53ab4b9c5","title_filing_ssi":"Bell, Alan Collection","title_ssm":["Alan Bell Collection"],"title_tesim":["Alan Bell Collection"],"ead_ssi":"5a8c017f195257c53ab4b9c5","unitdate_ssm":["1988-1998"],"unitdate_inclusive_ssm":["1988-1998"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["AARLCC.2020.3","/repositories/2/resources/23"],"text":["AARLCC.2020.3","/repositories/2/resources/23","Alan Bell Collection, 1988-1998","Gay community -- Periodicals","Lesbian community -- Periodicals","Gay community","Periodicals","Collection is open for research.","The Alan Bell Collection is arranged into six series: I.BLK Magazine,  II. BLK Guide to Southern California,  III. BLK List- National Lesbian and Gay Directory, IV.Blackfire Magazine, V. Kuumba Poetry Journal, and  VI.Ephemera.","Alan Bell is a LGBTQ journalist and activist.  His presence within LGBTQ newspaper writing has sustained for 40 years.  As a graphic designer, he founded Gaysweek, New York City's first mainstream lesbian and gay newspaper in 1977.  The periodical was printed for three years.  African-American HIV/AIDS activist, Phill Wilson, later encouraged Bell to start a news periodical for the African American community; particularly as it related to issues surrounding HIV/AIDS.   He eventually continued with the original BLK publication newsletter which provided reliable information in print.  The newsletter would later morph into the expanded magazine. Bell would go on to publish Blackfire magazine.  The erotica publication focused on gay Black men from 1992 to 1997.  Bell also founded Black Jack, a Black gay men's safer sex club in Los Angeles.","This collection received file level processing. This finding aid may be updated to reflect new descriptions as well as aquisitions to the collection.","View a selection of digitized materials from the Alan Bell Collection in the Broward County Library Digital Archives.","The Alan Bell collection consists of original newsprint and  magazine copies, poetry, journals, and directories that focus on the lives of the African American lesbian, gay, bi-sexual, transgendered, and queer (LGBTQ) community.  Publisher Alan Bell produced a monthly hard news alternative to many of the infotainment-oriented publications that appeared throughout America's Black gay communities during this period.  The BLK magazine was published from December 1988 until March 1994.  It began as a 16-page black and white newsprint, and later grew to 40 pages with glossy color covers, paid circulation, and national product advertising until it ceased publication in March 1994.  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BLK Guide to Southern California,  III. BLK List- National Lesbian and Gay Directory, IV.Blackfire Magazine, V. Kuumba Poetry Journal, and  VI.Ephemera.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Alan Bell Collection is arranged into six series: I.BLK Magazine,  II. BLK Guide to Southern California,  III. BLK List- National Lesbian and Gay Directory, IV.Blackfire Magazine, V. Kuumba Poetry Journal, and  VI.Ephemera."],"bioghist_html_tesm":["\u003cp\u003eAlan Bell is a LGBTQ journalist and activist.  His presence within LGBTQ newspaper writing has sustained for 40 years.  As a graphic designer, he founded Gaysweek, New York City's first mainstream lesbian and gay newspaper in 1977.  The periodical was printed for three years.  African-American HIV/AIDS activist, Phill Wilson, later encouraged Bell to start a news periodical for the African American community; particularly as it related to issues surrounding HIV/AIDS.   He eventually continued with the original BLK publication newsletter which provided reliable information in print.  The newsletter would later morph into the expanded magazine. Bell would go on to publish Blackfire magazine.  The erotica publication focused on gay Black men from 1992 to 1997.  Bell also founded Black Jack, a Black gay men's safer sex club in Los Angeles.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Alan Bell is a LGBTQ journalist and activist.  His presence within LGBTQ newspaper writing has sustained for 40 years.  As a graphic designer, he founded Gaysweek, New York City's first mainstream lesbian and gay newspaper in 1977.  The periodical was printed for three years.  African-American HIV/AIDS activist, Phill Wilson, later encouraged Bell to start a news periodical for the African American community; particularly as it related to issues surrounding HIV/AIDS.   He eventually continued with the original BLK publication newsletter which provided reliable information in print.  The newsletter would later morph into the expanded magazine. Bell would go on to publish Blackfire magazine.  The erotica publication focused on gay Black men from 1992 to 1997.  Bell also founded Black Jack, a Black gay men's safer sex club in Los Angeles."],"prefercite_html_tesm":["\u003cp\u003eThe Alan Bell Collection, African American Research Library and Cultural Center, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["The Alan Bell Collection, African American Research Library and Cultural Center, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThis collection received file level processing. This finding aid may be updated to reflect new descriptions as well as aquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection received file level processing. This finding aid may be updated to reflect new descriptions as well as aquisitions to the collection."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://digitalarchives.broward.org/digital/collection/p16146coll20/search\" target=\"_blank\"\u003eView a selection of digitized materials from the Alan Bell Collection in the Broward County Library Digital Archives.\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Digital Materials"],"relatedmaterial_tesim":["View a selection of digitized materials from the Alan Bell Collection in the Broward County Library Digital Archives."],"scopecontent_html_tesm":["\u003cp\u003eThe Alan Bell collection consists of original newsprint and  magazine copies, poetry, journals, and directories that focus on the lives of the African American lesbian, gay, bi-sexual, transgendered, and queer (LGBTQ) community.  Publisher Alan Bell produced a monthly hard news alternative to many of the infotainment-oriented publications that appeared throughout America's Black gay communities during this period.  The BLK magazine was published from December 1988 until March 1994.  It began as a 16-page black and white newsprint, and later grew to 40 pages with glossy color covers, paid circulation, and national product advertising until it ceased publication in March 1994.  A total of 41 issues were published, all of which are in the collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Alan Bell collection consists of original newsprint and  magazine copies, poetry, journals, and directories that focus on the lives of the African American lesbian, gay, bi-sexual, transgendered, and queer (LGBTQ) community.  Publisher Alan Bell produced a monthly hard news alternative to many of the infotainment-oriented publications that appeared throughout America's Black gay communities during this period.  The BLK magazine was published from December 1988 until March 1994.  It began as a 16-page black and white newsprint, and later grew to 40 pages with glossy color covers, paid circulation, and national product advertising until it ceased publication in March 1994.  A total of 41 issues were published, all of which are in the collection."],"names_ssim":["AARLCC Special Collections"],"corpname_ssim":["AARLCC Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":59,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870838793598140416,"_root_":"5a8c017f195257c53ab4b9c5","timestamp":"2026-07-16T03:01:47.590Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/5a8c017f195257c53ab4b9c5_aspace_1f2f87fbb0b9a96f5891c16855372d51"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Congressman James A. Haley Collection, 1948-1977","value":"Congressman James A. 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