{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=280","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=282","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=856"},"meta":{"pages":{"current_page":281,"next_page":282,"prev_page":280,"total_pages":856,"limit_value":10,"offset_value":2800,"total_count":8556,"first_page?":false,"last_page?":false}},"data":[{"id":"498438b04074638c5ee116de_aspace_162270","type":"Series","attributes":{"title":"Family Papers, Student Papers, and Photographs","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/498438b04074638c5ee116de_aspace_162270#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe Family Papers include a few items dealing with Paul Dirac's father's family in Switzerland, but the majority deal with his parents and their families, his brother and sister, his wife and their children, and his in-laws (including his brother-in-law, Eugene P. Wigner, who also won the Nobel Prize in Physics). The Family Papers include a few examples of juvenalia, but mainly consist of materials associated with his student days at the Bishop Road primary school, the Merchant Venturers' secondary school, the University of Bristol (1918-1921), and at St. John's College at Cambridge University (from 1921 through the awarding of his doctorate in 1926). These are arranged in acid-free folders and Hollinger boxes, generally by topic and then in chronological order. About 450 photographs and reprints (and a few negatives) from all periods of Dirac's life are also included in this segment, each of them in acetate sleeves or in four presentation albums. There are few personal financial records in the Collection, here or elsewhere.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/498438b04074638c5ee116de_aspace_162270#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_162270","ref_ssm":["aspace_162270","aspace_162270"],"id":"498438b04074638c5ee116de_aspace_162270","title_filing_ssi":"Family Papers, Student Papers, and Photographs","title_ssm":["Family Papers, Student Papers, and Photographs"],"title_tesim":["Family Papers, Student Papers, and Photographs"],"normalized_title_ssm":["Family Papers, Student Papers, and Photographs"],"text":["Family Papers, Student Papers, and Photographs","Paul A.M. Dirac Papers, 1788-1999","Series 1","/repositories/10/archival_objects/175985","The Family Papers include a few items dealing with Paul Dirac's father's family in Switzerland, but the majority deal with his parents and their families, his brother and sister, his wife and their children, and his in-laws (including his brother-in-law, Eugene P. Wigner, who also won the Nobel Prize in Physics). The Family Papers include a few examples of juvenalia, but mainly consist of materials associated with his student days at the Bishop Road primary school, the Merchant Venturers' secondary school, the University of Bristol (1918-1921), and at St. John's College at Cambridge University (from 1921 through the awarding of his doctorate in 1926). These are arranged in acid-free folders and Hollinger boxes, generally by topic and then in chronological order. About 450 photographs and reprints (and a few negatives) from all periods of Dirac's life are also included in this segment, each of them in acetate sleeves or in four presentation albums. There are few personal financial records in the Collection, here or elsewhere."],"component_level_isim":[1],"parent_ids_ssim":["498438b04074638c5ee116de"],"parent_unittitles_ssm":["Paul A.M. Dirac Papers, 1788-1999"],"parent_unittitles_tesim":["Paul A.M. Dirac Papers, 1788-1999"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 1","/repositories/10/archival_objects/175985"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Paul A.M. Dirac Papers, 1788-1999"],"has_online_content_ssim":["false"],"child_component_count_isi":304,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["Family medical records relating to living persons are closed to researchers in consideration of their privacy.All other materials in the Paul A. M. Dirac Collection are available to all researchers."],"parent_access_terms_tesm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","Copyrights held by Margit Dirac were transferred to Florida State University by deeds of gift in 1986, 1989, 1992, and 1996, including those held by Paul A.M. Dirac at the time of his death.","Copyright in unpublished works by Paul Dirac will expire on January 1, 2055."],"scopecontent_html_tesm":["\u003cp\u003eThe Family Papers include a few items dealing with Paul Dirac's father's family in Switzerland, but the majority deal with his parents and their families, his brother and sister, his wife and their children, and his in-laws (including his brother-in-law, Eugene P. Wigner, who also won the Nobel Prize in Physics). The Family Papers include a few examples of juvenalia, but mainly consist of materials associated with his student days at the Bishop Road primary school, the Merchant Venturers' secondary school, the University of Bristol (1918-1921), and at St. John's College at Cambridge University (from 1921 through the awarding of his doctorate in 1926). These are arranged in acid-free folders and Hollinger boxes, generally by topic and then in chronological order. About 450 photographs and reprints (and a few negatives) from all periods of Dirac's life are also included in this segment, each of them in acetate sleeves or in four presentation albums. There are few personal financial records in the Collection, here or elsewhere.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Family Papers include a few items dealing with Paul Dirac's father's family in Switzerland, but the majority deal with his parents and their families, his brother and sister, his wife and their children, and his in-laws (including his brother-in-law, Eugene P. Wigner, who also won the Nobel Prize in Physics). The Family Papers include a few examples of juvenalia, but mainly consist of materials associated with his student days at the Bishop Road primary school, the Merchant Venturers' secondary school, the University of Bristol (1918-1921), and at St. John's College at Cambridge University (from 1921 through the awarding of his doctorate in 1926). These are arranged in acid-free folders and Hollinger boxes, generally by topic and then in chronological order. About 450 photographs and reprints (and a few negatives) from all periods of Dirac's life are also included in this segment, each of them in acetate sleeves or in four presentation albums. There are few personal financial records in the Collection, here or elsewhere."],"_nest_path_":"/components#0","_nest_parent_":"498438b04074638c5ee116de","_root_":"498438b04074638c5ee116de","_version_":1870857533196861440,"timestamp":"2026-07-16T07:59:38.870Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"498438b04074638c5ee116de","title_ssm":["Paul A.M. Dirac Papers"],"title_tesim":["Paul A.M. Dirac Papers"],"ead_ssi":"498438b04074638c5ee116de","unitdate_ssm":["1788-1999"],"unitdate_inclusive_ssm":["1788-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 1989-009","/repositories/10/resources/1408"],"text":["MSS 1989-009","/repositories/10/resources/1408","Paul A.M. Dirac Papers, 1788-1999","Dirac equation","Physicists--Great Britain--Biography.","Quantum theory.","Quantum theory--History.","Relativistic quantum theory.","Manuscripts","Audiocassettes","Family medical records relating to living persons are closed to researchers in consideration of their privacy. All other materials in the Paul A. M. Dirac Collection are available to all researchers.","Additional addresses, artlcles, articles, and honorary items were received from Monica Dirac (December 3, 2012) that were originally from the Dirac house in Tallahassee.  Marshall Knight gave four boxes of Mary Dirac's legal and financial materials on March 15, 2013. Further additions came from Monica Dirac in May 2013, and in February 2014.","Collection was re-boxed in 2014. Items that are located in a new box and/or folder have their former location noted as part of their folder description.","1902, Aug. 8: Born in Bristol, England to Charles Adrein Ladislas Dirac, a Swiss-born French teacher, and Florence Hannah Holten, a library clerk.","1908-1918: Attended the Bishop Road elementary school and the Merchant Venturers' Technical College (a secondary school) where his father taught. As an elderly man, he recalled that he excelled in mathematics, chemistry, and physics, but was disadvantaged by his age and size in sports activities.","1918-1923: He studied Electrical Engineering at the University of Bristol, with first class honors and stayed on to study mathematics, completing his examinations with first class honors after two additional years.","1923-1926: He was admitted to St. John's College at Cambridge, studying with Ralph A. Fowler. During this time he published several technical papers and in 1926 he was awarded his Ph.D. with a thesis \"Quantum Mechanics\" and traveled to other European centers where modern physics was being investigated.","1927-1933: He progressed rapidly in his research positions being successively elected a Fellow at St. John's College of Cambridge University, 1927; Praelector in Mathematical Physics, 1929; Fellow of the Royal Society, 1930; Lucasian Professor of Mathematics, 1932; Nobel Prize for Physics in 1933 along with Erwin Schroedinger.","1930: He published the first edition of  The Principles of Quantum Mechanics .","1933-1969: He continued his research activity and traveled widely, teaching and lecturing frequently in Europe, Asia, and North America, interrupted only during the time he was involved in War-related work, often taking short-term lecturing positions at major universities until his retirement from Cambridge in 1969. In 1937, he married Margit (\"Manci\") Wigner, the sister of Eugene P. Wigner a Hungarian colleague at Princeton's Institute for Advanced Study. He adopted her two children, Judith and Gabriel. They had two daughters, Mary Elizabeth and Florence Monica.","1972-1984: He accepted an appointment at Florida State University and moved to Tallahassee where he continued his active research and travel until near the end of his life on October 20, 1984. He is buried in Tallahassee.","To ensure the preservation of the materials and their accessibility to researchers, nonprint materials (photographs, negatives, memorabilia, and recordings) have been removed from their original locations among the papers and collected into appropriate locations. Manuscripts, galley proofs, and published materials by P. A. M. Dirac similarly have been brought together. His office collections of reprints and books have been maintained as transferred.","Very little of the deposited material has been removed, mainly envelopes not needed to establish dates or the identity of correspondents. Likewise journals, multiple copies of reprints, and other published materials, easily found in libraries' holdings, have been removed unless there was evidence of Dirac's use. All other items received have been retained. There is no evidence that it was Dirac's practice to keep a file of outgoing correspondence. Except for occasional notes on incoming letters to guide his assistants in replying, the content of his outgoing letters must be inferred from his actions and from subsequent incoming letters or by examining the correspondence of the recipients in other repositories.","Regrettably, much of the original order of the collection was disrupted prior to deposit as a consequence of arriving at various times from Dirac's office, home, and elsewhere and the reintegration of a collection materials temporarily on loan to the Churchill College Archives. A trans-Atlantic relocation of the Dirac possessions from Cambridge to Tallahassee in 1972 undoubtedly had a similar effect. However, during the processing of this collection, the original order of the files was preserved as closely as possible. The general arrangement consists of three major segments: the first consisting of family papers and photographs, regardless of date, and materials relating to this educational activities through his being awarded his doctorate at Cambridge in 1926. The second, and largest, segment is comprised of his \"professional\" papers dealing with his scientific work, lecturing, and teaching. Materials dealing with his extensive travel, membership in professional associations, and awards are also in this section. The third component contains realia, honorary certificates, and similar items.","Processed by: Charles Wm. Conaway, Joseph R. McElrath, Jr., Billie B. Oakes, and Burton H. Altman.","Paul Dirac Photographs, MSS 2021-003, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  https://purl.lib.fsu.edu/fa/MSS_2021-003","Billie B. Oakes (2000).  The Personal Papers of Paul A.M. Dirac: Their History and Preservation at the Florida State University  (Doctoral thesis). Florida State University, Tallahassee, FL.  http://fsu.catalog.fcla.edu/permalink.jsp?23FS028637692","Clark, K., \u0026 Harrington, E. (2015). Deciphering the doodlings of the \"shoebox collection\" of the Paul A. M. Dirac papers. In E. Barbin, U. T. Jankvist, \u0026 T. H. Kjeldsen (Eds.),  Seventh European Summer University on the History and Epistemology in Mathematics Education (ESU-7)  (pp. 735-744).","Farmelo, Graham. (2009). The Strangest Man: The Hidden Life of Paul Dirac, Quantum Genius. London: Faber and Faber.  https://fsu-flvc.primo.exlibrisgroup.com/permalink/01FALSC_FSU/pag4dr/alma990209878400306576","Copenhagen, Denmark: Danish School of Education, Aarhus University.  http://conferences.au.dk/fileadmin/conferences/ESU-7/ESU7_e-version-red.pdf","Université Libre de Bruxelles.  The Solvay Science Project .  http://ladigitheque.ulb.ac.be/exhibits/show/the-solvay-science-project","The Paul A. M. Dirac Collection includes material documenting his personal life and career as a student, premiere theoretical physicist, Nobel Prize winner, contributor to UK military research during World War II, noted lecturer and world traveler, holder of the Lucasian Professor of Mathematics chair at Cambridge University from 1932 until 1969, and Research Professor at Florida State University from 1972 until his death in 1984. The collection consists of correspondence, manuscripts of scientific papers and lectures, manuscript calculations, books, photographs, sound recordings, framed certificates, and realia.","Select materials from the Paul A.M. Dirac Papers are available online in the  Paul A.M. Dirac Collection, Florida State University Digital Library .","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","Copyrights held by Margit Dirac were transferred to Florida State University by deeds of gift in 1986, 1989, 1992, and 1996, including those held by Paul A.M. Dirac at the time of his death.","Copyright in unpublished works by Paul Dirac will expire on January 1, 2055.","The Paul A. M. Dirac Papers consists of the personal and family papers, photographs, manuscripts, galley proofs, and published papers, scientific calculations, lecture notes, and office files of Dr. Paul A. M. Dirac, winner of the Nobel Prize (Physics, 1933). Materials relating to his professorships at St. John's College at Cambridge University where he held the Lucasian Professor of Mathematics chair from his election in 1932 until his retirement in 1969 and then as Professor of Physics at Florida State University from 1972 until his death in 1984, comprise the bulk of the Collection. A small group of audio recordings, certificates, realia, and selected published items transferred from his office at the time of his death are also included.","Special Collections Research Center","FSU Special Collections \u0026 Archives","Dirac, P. A. M. (Paul Adrien Maurice), 1902-1984","Albright, John","Ashauer, Walter","Bohr, Niels, 1885-1962","Oppenheimer, J. Robert, 1904-1967","Multiple languages"],"unitid_tesim":["MSS 1989-009","/repositories/10/resources/1408"],"normalized_date_ssm":["1788-1999"],"normalized_title_ssm":["Paul A.M. Dirac Papers, 1788-1999"],"collection_title_tesim":["Paul A.M. Dirac Papers, 1788-1999"],"collection_ssim":["Paul A.M. Dirac Papers, 1788-1999"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"creator_ssm":["Dirac, P. A. M. (Paul Adrien Maurice), 1902-1984"],"creator_ssim":["Dirac, P. A. M. (Paul Adrien Maurice), 1902-1984"],"creator_persname_ssim":["Dirac, P. A. M. (Paul Adrien Maurice), 1902-1984"],"creators_ssim":["Dirac, P. A. M. (Paul Adrien Maurice), 1902-1984"],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","Copyrights held by Margit Dirac were transferred to Florida State University by deeds of gift in 1986, 1989, 1992, and 1996, including those held by Paul A.M. Dirac at the time of his death.","Copyright in unpublished works by Paul Dirac will expire on January 1, 2055."],"acqinfo_ssim":["The materials in the Paul A.M. Dirac papers were donated by Mrs. Dirac over a period of years from 1984 to 1997."],"access_subjects_ssim":["Dirac equation","Physicists--Great Britain--Biography.","Quantum theory.","Quantum theory--History.","Relativistic quantum theory.","Manuscripts","Audiocassettes"],"access_subjects_ssm":["Dirac equation","Physicists--Great Britain--Biography.","Quantum theory.","Quantum theory--History.","Relativistic quantum theory.","Manuscripts","Audiocassettes"],"has_online_content_ssim":["false"],"extent_ssm":["65 Linear Feet 110 boxes"],"extent_tesim":["65 Linear Feet 110 boxes"],"physfacet_tesim":["total collection extent"],"genreform_ssim":["Manuscripts","Audiocassettes"],"date_range_isim":[1788,1789,1790,1791,1792,1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999],"accessrestrict_html_tesm":["\u003cp\u003eFamily medical records relating to living persons are closed to researchers in consideration of their privacy.\u003cbr\u003e\u003cbr\u003eAll other materials in the Paul A. M. Dirac Collection are available to all researchers.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Family medical records relating to living persons are closed to researchers in consideration of their privacy. All other materials in the Paul A. M. Dirac Collection are available to all researchers."],"accruals_html_tesm":["\u003cp\u003eAdditional addresses, artlcles, articles, and honorary items were received from Monica Dirac (December 3, 2012) that were originally from the Dirac house in Tallahassee.\u0026#xA0; Marshall Knight gave four boxes of Mary Dirac's legal and financial materials on March 15, 2013. Further additions came from Monica Dirac in May 2013, and in February 2014.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals and Additions"],"accruals_tesim":["Additional addresses, artlcles, articles, and honorary items were received from Monica Dirac (December 3, 2012) that were originally from the Dirac house in Tallahassee.  Marshall Knight gave four boxes of Mary Dirac's legal and financial materials on March 15, 2013. Further additions came from Monica Dirac in May 2013, and in February 2014."],"arrangement_html_tesm":["\u003cp\u003eCollection was re-boxed in 2014. Items that are located in a new box and/or folder have their former location noted as part of their folder description.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Collection was re-boxed in 2014. Items that are located in a new box and/or folder have their former location noted as part of their folder description."],"bioghist_html_tesm":["\u003cp\u003e\u003cbr\u003e1902, Aug. 8: Born in Bristol, England to Charles Adrein Ladislas Dirac, a Swiss-born French teacher, and Florence Hannah Holten, a library clerk.\u003cbr\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cbr\u003e1908-1918: Attended the Bishop Road elementary school and the Merchant Venturers' Technical College (a secondary school) where his father taught. As an elderly man, he recalled that he excelled in mathematics, chemistry, and physics, but was disadvantaged by his age and size in sports activities.\u003cbr\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cbr\u003e1918-1923: He studied Electrical Engineering at the University of Bristol, with first class honors and stayed on to study mathematics, completing his examinations with first class honors after two additional years.\u003cbr\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cbr\u003e1923-1926: He was admitted to St. John's College at Cambridge, studying with Ralph A. Fowler. During this time he published several technical papers and in 1926 he was awarded his Ph.D. with a thesis \"Quantum Mechanics\" and traveled to other European centers where modern physics was being investigated.\u003cbr\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cbr\u003e1927-1933: He progressed rapidly in his research positions being successively elected a Fellow at St. John's College of Cambridge University, 1927; Praelector in Mathematical Physics, 1929; Fellow of the Royal Society, 1930; Lucasian Professor of Mathematics, 1932; Nobel Prize for Physics in 1933 along with Erwin Schroedinger.\u003cbr\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cbr\u003e1930: He published the first edition of \u003cemph render=\"italic\"\u003eThe Principles of Quantum Mechanics\u003c/emph\u003e.\u003cbr\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cbr\u003e1933-1969: He continued his research activity and traveled widely, teaching and lecturing frequently in Europe, Asia, and North America, interrupted only during the time he was involved in War-related work, often taking short-term lecturing positions at major universities until his retirement from Cambridge in 1969. In 1937, he married Margit (\"Manci\") Wigner, the sister of Eugene P. Wigner a Hungarian colleague at Princeton's Institute for Advanced Study. He adopted her two children, Judith and Gabriel. They had two daughters, Mary Elizabeth and Florence Monica.\u003cbr\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cbr\u003e1972-1984: He accepted an appointment at Florida State University and moved to Tallahassee where he continued his active research and travel until near the end of his life on October 20, 1984. He is buried in Tallahassee.\u003cbr\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["1902, Aug. 8: Born in Bristol, England to Charles Adrein Ladislas Dirac, a Swiss-born French teacher, and Florence Hannah Holten, a library clerk.","1908-1918: Attended the Bishop Road elementary school and the Merchant Venturers' Technical College (a secondary school) where his father taught. As an elderly man, he recalled that he excelled in mathematics, chemistry, and physics, but was disadvantaged by his age and size in sports activities.","1918-1923: He studied Electrical Engineering at the University of Bristol, with first class honors and stayed on to study mathematics, completing his examinations with first class honors after two additional years.","1923-1926: He was admitted to St. John's College at Cambridge, studying with Ralph A. Fowler. During this time he published several technical papers and in 1926 he was awarded his Ph.D. with a thesis \"Quantum Mechanics\" and traveled to other European centers where modern physics was being investigated.","1927-1933: He progressed rapidly in his research positions being successively elected a Fellow at St. John's College of Cambridge University, 1927; Praelector in Mathematical Physics, 1929; Fellow of the Royal Society, 1930; Lucasian Professor of Mathematics, 1932; Nobel Prize for Physics in 1933 along with Erwin Schroedinger.","1930: He published the first edition of  The Principles of Quantum Mechanics .","1933-1969: He continued his research activity and traveled widely, teaching and lecturing frequently in Europe, Asia, and North America, interrupted only during the time he was involved in War-related work, often taking short-term lecturing positions at major universities until his retirement from Cambridge in 1969. In 1937, he married Margit (\"Manci\") Wigner, the sister of Eugene P. Wigner a Hungarian colleague at Princeton's Institute for Advanced Study. He adopted her two children, Judith and Gabriel. They had two daughters, Mary Elizabeth and Florence Monica.","1972-1984: He accepted an appointment at Florida State University and moved to Tallahassee where he continued his active research and travel until near the end of his life on October 20, 1984. He is buried in Tallahassee."],"prefercite_html_tesm":["\u003cp\u003e[Item description], [item date], [series number], [box number], [folder number], Paul A. M. Dirac Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/MSS_1989-009\"\u003ehttp://purl.fcla.edu/fsu/MSS_1989-009\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["[Item description], [item date], [series number], [box number], [folder number], Paul A. M. Dirac Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/MSS_1989-009"],"processinfo_html_tesm":["\u003cp\u003eTo ensure the preservation of the materials and their accessibility to researchers, nonprint materials (photographs, negatives, memorabilia, and recordings) have been removed from their original locations among the papers and collected into appropriate locations. Manuscripts, galley proofs, and published materials by P. A. M. Dirac similarly have been brought together. His office collections of reprints and books have been maintained as transferred.\u003cbr\u003e\u003c/p\u003e","\u003cp\u003e\u003cbr\u003eVery little of the deposited material has been removed, mainly envelopes not needed to establish dates or the identity of correspondents. Likewise journals, multiple copies of reprints, and other published materials, easily found in libraries' holdings, have been removed unless there was evidence of Dirac's use. All other items received have been retained. There is no evidence that it was Dirac's practice to keep a file of outgoing correspondence. Except for occasional notes on incoming letters to guide his assistants in replying, the content of his outgoing letters must be inferred from his actions and from subsequent incoming letters or by examining the correspondence of the recipients in other repositories.\u003cbr\u003e\u003c/p\u003e","\u003cp\u003e\u003cbr\u003eRegrettably, much of the original order of the collection was disrupted prior to deposit as a consequence of arriving at various times from Dirac's office, home, and elsewhere and the reintegration of a collection materials temporarily on loan to the Churchill College Archives. A trans-Atlantic relocation of the Dirac possessions from Cambridge to Tallahassee in 1972 undoubtedly had a similar effect. However, during the processing of this collection, the original order of the files was preserved as closely as possible. The general arrangement consists of three major segments: the first consisting of family papers and photographs, regardless of date, and materials relating to this educational activities through his being awarded his doctorate at Cambridge in 1926. The second, and largest, segment is comprised of his \"professional\" papers dealing with his scientific work, lecturing, and teaching. Materials dealing with his extensive travel, membership in professional associations, and awards are also in this section. The third component contains realia, honorary certificates, and similar items.\u003cbr\u003e \u003c/p\u003e","\u003cp\u003e\u003cbr\u003eProcessed by: Charles Wm. Conaway, Joseph R. McElrath, Jr., Billie B. Oakes, and Burton H. Altman.\u003cbr\u003e\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["To ensure the preservation of the materials and their accessibility to researchers, nonprint materials (photographs, negatives, memorabilia, and recordings) have been removed from their original locations among the papers and collected into appropriate locations. Manuscripts, galley proofs, and published materials by P. A. M. Dirac similarly have been brought together. His office collections of reprints and books have been maintained as transferred.","Very little of the deposited material has been removed, mainly envelopes not needed to establish dates or the identity of correspondents. Likewise journals, multiple copies of reprints, and other published materials, easily found in libraries' holdings, have been removed unless there was evidence of Dirac's use. All other items received have been retained. There is no evidence that it was Dirac's practice to keep a file of outgoing correspondence. Except for occasional notes on incoming letters to guide his assistants in replying, the content of his outgoing letters must be inferred from his actions and from subsequent incoming letters or by examining the correspondence of the recipients in other repositories.","Regrettably, much of the original order of the collection was disrupted prior to deposit as a consequence of arriving at various times from Dirac's office, home, and elsewhere and the reintegration of a collection materials temporarily on loan to the Churchill College Archives. A trans-Atlantic relocation of the Dirac possessions from Cambridge to Tallahassee in 1972 undoubtedly had a similar effect. However, during the processing of this collection, the original order of the files was preserved as closely as possible. The general arrangement consists of three major segments: the first consisting of family papers and photographs, regardless of date, and materials relating to this educational activities through his being awarded his doctorate at Cambridge in 1926. The second, and largest, segment is comprised of his \"professional\" papers dealing with his scientific work, lecturing, and teaching. Materials dealing with his extensive travel, membership in professional associations, and awards are also in this section. The third component contains realia, honorary certificates, and similar items.","Processed by: Charles Wm. Conaway, Joseph R. McElrath, Jr., Billie B. Oakes, and Burton H. Altman."],"relatedmaterial_html_tesm":["\u003cp\u003ePaul Dirac Photographs, MSS 2021-003, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"https://purl.lib.fsu.edu/fa/MSS_2021-003\"\u003ehttps://purl.lib.fsu.edu/fa/MSS_2021-003\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eBillie B. Oakes (2000). \u003cemph render=\"italic\"\u003eThe Personal Papers of Paul A.M. Dirac: Their History and Preservation at the Florida State University\u003c/emph\u003e (Doctoral thesis). Florida State University, Tallahassee, FL. \u003cextref href=\"http://fsu.catalog.fcla.edu/permalink.jsp?23FS028637692\"\u003ehttp://fsu.catalog.fcla.edu/permalink.jsp?23FS028637692\u003c/extref\u003e\u003c/p\u003e","\u003cp\u003eClark, K., \u0026amp; Harrington, E. (2015). Deciphering the doodlings of the \"shoebox collection\" of the Paul A. M. Dirac papers. In E. Barbin, U. T. Jankvist, \u0026amp; T. H. Kjeldsen (Eds.), \u003cemph render=\"italic\"\u003eSeventh European Summer University on the History and Epistemology in Mathematics Education (ESU-7)\u003c/emph\u003e (pp. 735-744).\u003c/p\u003e\n","\u003cp\u003eFarmelo, Graham. (2009). The Strangest Man: The Hidden Life of Paul Dirac, Quantum Genius. London: Faber and Faber. \u003cextref href=\"https://fsu-flvc.primo.exlibrisgroup.com/permalink/01FALSC_FSU/pag4dr/alma990209878400306576\"\u003ehttps://fsu-flvc.primo.exlibrisgroup.com/permalink/01FALSC_FSU/pag4dr/alma990209878400306576\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eCopenhagen, Denmark: Danish School of Education, Aarhus University. \u003cextref href=\"http://conferences.au.dk/fileadmin/conferences/ESU-7/ESU7_e-version-red.pdf\"\u003ehttp://conferences.au.dk/fileadmin/conferences/ESU-7/ESU7_e-version-red.pdf\u003c/extref\u003e\u003cbr\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cbr\u003eUniversit\u0026#xE9; Libre de Bruxelles. \u003cemph render=\"italic\"\u003eThe Solvay Science Project\u003c/emph\u003e. \u003cextref href=\"http://ladigitheque.ulb.ac.be/exhibits/show/the-solvay-science-project\"\u003ehttp://ladigitheque.ulb.ac.be/exhibits/show/the-solvay-science-project\u003c/extref\u003e\u003cbr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Publications"],"relatedmaterial_tesim":["Paul Dirac Photographs, MSS 2021-003, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  https://purl.lib.fsu.edu/fa/MSS_2021-003","Billie B. Oakes (2000).  The Personal Papers of Paul A.M. Dirac: Their History and Preservation at the Florida State University  (Doctoral thesis). Florida State University, Tallahassee, FL.  http://fsu.catalog.fcla.edu/permalink.jsp?23FS028637692","Clark, K., \u0026 Harrington, E. (2015). Deciphering the doodlings of the \"shoebox collection\" of the Paul A. M. Dirac papers. In E. Barbin, U. T. Jankvist, \u0026 T. H. Kjeldsen (Eds.),  Seventh European Summer University on the History and Epistemology in Mathematics Education (ESU-7)  (pp. 735-744).","Farmelo, Graham. (2009). The Strangest Man: The Hidden Life of Paul Dirac, Quantum Genius. London: Faber and Faber.  https://fsu-flvc.primo.exlibrisgroup.com/permalink/01FALSC_FSU/pag4dr/alma990209878400306576","Copenhagen, Denmark: Danish School of Education, Aarhus University.  http://conferences.au.dk/fileadmin/conferences/ESU-7/ESU7_e-version-red.pdf","Université Libre de Bruxelles.  The Solvay Science Project .  http://ladigitheque.ulb.ac.be/exhibits/show/the-solvay-science-project"],"scopecontent_html_tesm":["\u003cp\u003eThe Paul A. M. Dirac Collection includes material documenting his personal life and career as a student, premiere theoretical physicist, Nobel Prize winner, contributor to UK military research during World War II, noted lecturer and world traveler, holder of the Lucasian Professor of Mathematics chair at Cambridge University from 1932 until 1969, and Research Professor at Florida State University from 1972 until his death in 1984. The collection consists of correspondence, manuscripts of scientific papers and lectures, manuscript calculations, books, photographs, sound recordings, framed certificates, and realia.\u003c/p\u003e","\u003cp\u003eSelect materials from the Paul A.M. Dirac Papers are available online in the \u003cextref href=\"http://diginole.lib.fsu.edu/islandora/object/fsu%3Adiraccol\"\u003ePaul A.M. Dirac Collection, Florida State University Digital Library\u003c/extref\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Online Copies Available"],"scopecontent_tesim":["The Paul A. M. Dirac Collection includes material documenting his personal life and career as a student, premiere theoretical physicist, Nobel Prize winner, contributor to UK military research during World War II, noted lecturer and world traveler, holder of the Lucasian Professor of Mathematics chair at Cambridge University from 1932 until 1969, and Research Professor at Florida State University from 1972 until his death in 1984. The collection consists of correspondence, manuscripts of scientific papers and lectures, manuscript calculations, books, photographs, sound recordings, framed certificates, and realia.","Select materials from the Paul A.M. Dirac Papers are available online in the  Paul A.M. Dirac Collection, Florida State University Digital Library ."],"userestrict_html_tesm":["\u003cp\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026amp; Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e\n","\u003cp\u003eCopyrights held by Margit Dirac were transferred to Florida State University by deeds of gift in 1986, 1989, 1992, and 1996, including those held by Paul A.M. Dirac at the time of his death.\u003c/p\u003e\n","\u003cp\u003eCopyright in unpublished works by Paul Dirac will expire on January 1, 2055.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","Copyrights held by Margit Dirac were transferred to Florida State University by deeds of gift in 1986, 1989, 1992, and 1996, including those held by Paul A.M. Dirac at the time of his death.","Copyright in unpublished works by Paul Dirac will expire on January 1, 2055."],"abstract_html_tesm":["\u003cabstract id=\"aspace_8aa4c8a227c997082c924010bcbb0fb1\" label=\"Abstract\"\u003eThe Paul A. M. Dirac Papers consists of the personal and family papers, photographs, manuscripts, galley proofs, and published papers, scientific calculations, lecture notes, and office files of Dr. Paul A. M. Dirac, winner of the Nobel Prize (Physics, 1933). Materials relating to his professorships at St. John's College at Cambridge University where he held the Lucasian Professor of Mathematics chair from his election in 1932 until his retirement in 1969 and then as Professor of Physics at Florida State University from 1972 until his death in 1984, comprise the bulk of the Collection. A small group of audio recordings, certificates, realia, and selected published items transferred from his office at the time of his death are also included.\u003c/abstract\u003e"],"abstract_tesim":["The Paul A. M. Dirac Papers consists of the personal and family papers, photographs, manuscripts, galley proofs, and published papers, scientific calculations, lecture notes, and office files of Dr. Paul A. M. Dirac, winner of the Nobel Prize (Physics, 1933). Materials relating to his professorships at St. John's College at Cambridge University where he held the Lucasian Professor of Mathematics chair from his election in 1932 until his retirement in 1969 and then as Professor of Physics at Florida State University from 1972 until his death in 1984, comprise the bulk of the Collection. A small group of audio recordings, certificates, realia, and selected published items transferred from his office at the time of his death are also included."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_728c2e343e3a8fe156c1ca2903ff315b\"\u003eSpecial Collections Research Center\u003c/physloc\u003e"],"physloc_tesim":["Special Collections Research Center"],"names_ssim":["FSU Special Collections \u0026 Archives","Dirac, P. A. M. (Paul Adrien Maurice), 1902-1984","Albright, John","Ashauer, Walter","Bohr, Niels, 1885-1962","Oppenheimer, J. Robert, 1904-1967"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"names_coll_ssim":["Dirac, P. A. M. (Paul Adrien Maurice), 1902-1984","Albright, John","Ashauer, Walter","Bohr, Niels, 1885-1962","Oppenheimer, J. Robert, 1904-1967"],"persname_ssim":["Dirac, P. A. M. (Paul Adrien Maurice), 1902-1984","Albright, John","Ashauer, Walter","Bohr, Niels, 1885-1962","Oppenheimer, J. Robert, 1904-1967"],"language_ssim":["Multiple languages"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1859,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857533196861440,"_root_":"498438b04074638c5ee116de","timestamp":"2026-07-16T07:59:38.870Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/498438b04074638c5ee116de_aspace_162270"}},{"id":"234fe2efc60f8fa639d8bcf8_aspace_a41088a50e58df9fc7ac2a10ba9e9055","type":"Series","attributes":{"title":"Family Photographs","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/234fe2efc60f8fa639d8bcf8_aspace_a41088a50e58df9fc7ac2a10ba9e9055#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_a41088a50e58df9fc7ac2a10ba9e9055","ref_ssm":["aspace_a41088a50e58df9fc7ac2a10ba9e9055","aspace_a41088a50e58df9fc7ac2a10ba9e9055"],"id":"234fe2efc60f8fa639d8bcf8_aspace_a41088a50e58df9fc7ac2a10ba9e9055","title_filing_ssi":"Family Photographs","title_ssm":["Family Photographs"],"title_tesim":["Family Photographs"],"normalized_title_ssm":["Family Photographs"],"text":["Family Photographs","Evelyn Rees Burt Collection, 1866-1969, Date acquired: 00/00/1970","2","/repositories/10/archival_objects/179927","box 2","box 3"],"component_level_isim":[1],"parent_ids_ssim":["234fe2efc60f8fa639d8bcf8"],"parent_unittitles_ssm":["Evelyn Rees Burt Collection, 1866-1969, Date acquired: 00/00/1970"],"parent_unittitles_tesim":["Evelyn Rees Burt Collection, 1866-1969, Date acquired: 00/00/1970"],"parent_levels_ssm":["collection"],"unitid_ssm":["2","/repositories/10/archival_objects/179927"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Evelyn Rees Burt Collection, 1866-1969, Date acquired: 00/00/1970"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":9,"parent_access_restrict_tesm":["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."],"parent_access_terms_tesm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"containers_ssim":["box 2","box 3"],"_nest_path_":"/components#1","_nest_parent_":"234fe2efc60f8fa639d8bcf8","_root_":"234fe2efc60f8fa639d8bcf8","timestamp":"2026-07-08T11:24:59.107Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"234fe2efc60f8fa639d8bcf8","title_ssm":["Evelyn Rees Burt Collection"],"title_tesim":["Evelyn Rees Burt Collection"],"ead_ssi":"234fe2efc60f8fa639d8bcf8","unitdate_ssm":["1866-1969","Date acquired: 00/00/1970"],"unitdate_inclusive_ssm":["1866-1969"],"unitdate_other_ssim":["Date acquired: 00/00/1970"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 0-40","/repositories/10/resources/542"],"text":["MSS 0-40","/repositories/10/resources/542","Evelyn Rees Burt Collection, 1866-1969, Date acquired: 00/00/1970","Levy County (Fla.)","Cedar Key (Fla.)","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.","Mrs. Evelyn Rees Burt served in the US Navy during World War II as a WAVE officer. She served in Jacksonville, Florida and Hawaii. Her related oral history describes her experience of serving in the Navy as a female during the war.","Mrs. Evelyn Rees Burt's grandmother was Anna Amelia Schlemmer, who married George Otto Adicks of Lake City, Columbia County, Florida. The Rees family originated in Southern Georgia, Virgina, and Carolina, and settled in Jacksonville, Duval County, Florida. The head of the Schlemmer family (native of Prussia, naturalized in 1866 in the Circuit Court, Perry County, Indiana) settled in Cedar Key, Levy County, Florida ca 1888. ","Men of the Rees family were plantation owners and business owners; Confederate officers and soldiers in the Civil War; and served in the Spanish American War, and Army and Air Force officers during World War I and World War II. The Schlemmers were leading citizens, real estate owners and developers of Cedar Key and the surrounding area. ","Processed November, 1967.","Item 148, Burt, Evelyn Rees, undated. Reichelt Oral History Collection, 01-HPUA-2015-00R. FSU Special Collections \u0026 Archives. https://archives.lib.fsu.edu/repositories/10/archival_objects/133793","Genealogical materials, family and business papers and correspondence, pictures, tax and receipts, mortgages, a will, old newspapers and clippings.\n \tThis collection pertains to the Rees, Schlemmer and Adicks families, and contains a wide variety of materials. There is a 16-page mimeographed genealogical outline compiled by Evelyn Rees Burt entitled \"Our 'Rees' Family,\" as well as historical materials about Cedar Keys, Florida. There are biographical sketches in a 10-page family history compiled by Evelyn Rees Burt, December 1962 and May 1968, with photocopies of pictures of the home, hotel and burial plot of the Schlemmer family at Cedar Key. Memorials in the collection include holograph notices of the death of three Adicks children, holograph compositions of music, and a 3-page typed sermon regarding the 50th anniversary of the Jasper Florida Presbyterian Church, by Rev. E. F. Montgomery. There are holograph tax and financial materials related to lumber and other supplies from merchants in Key West, Florida, 1881-1910. The correspondence includes two letters by Episcopal Bishop, Edwin G. Weed, for whom Camp Weed on the gulf beyond Panacea, Florida, was named, as well as a photograph of a young boy identified as Joe B. Gudenrath.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","FSU Special Collections \u0026 Archives","Adicks Family","English"],"unitid_tesim":["MSS 0-40","/repositories/10/resources/542"],"normalized_date_ssm":["1866-1969, Date acquired: 00/00/1970"],"normalized_title_ssm":["Evelyn Rees Burt Collection, 1866-1969, Date acquired: 00/00/1970"],"collection_title_tesim":["Evelyn Rees Burt Collection, 1866-1969, Date acquired: 00/00/1970"],"collection_ssim":["Evelyn Rees Burt Collection, 1866-1969, Date acquired: 00/00/1970"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"geogname_ssm":["Levy County (Fla.)"],"geogname_ssim":["Levy County (Fla.)"],"places_ssim":["Levy County (Fla.)"],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["Gift of Mrs. Evelyn Rees Burt"],"access_subjects_ssim":["Cedar Key (Fla.)"],"access_subjects_ssm":["Cedar Key (Fla.)"],"has_online_content_ssim":["false"],"extent_ssm":["680 items","1.5 Linear Feet 3 boxes"],"extent_tesim":["680 items","1.5 Linear Feet 3 boxes"],"date_range_isim":[1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969],"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\u003eMrs. Evelyn Rees Burt served in the US Navy during World War II as a WAVE officer. She served in Jacksonville, Florida and Hawaii. Her related oral history describes her experience of serving in the Navy as a female during the war.\u003c/p\u003e\n","\u003cp\u003eMrs. Evelyn Rees Burt's grandmother was Anna Amelia Schlemmer, who married George Otto Adicks of Lake City, Columbia County, Florida. The Rees family originated in Southern Georgia, Virgina, and Carolina, and settled in Jacksonville, Duval County, Florida. The head of the Schlemmer family (native of Prussia, naturalized in 1866 in the Circuit Court, Perry County, Indiana) settled in Cedar Key, Levy County, Florida ca 1888. \u003c/p\u003e\n","\u003cp\u003eMen of the Rees family were plantation owners and business owners; Confederate officers and soldiers in the Civil War; and served in the Spanish American War, and Army and Air Force officers during World War I and World War II. The Schlemmers were leading citizens, real estate owners and developers of Cedar Key and the surrounding area. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Mrs. Evelyn Rees Burt served in the US Navy during World War II as a WAVE officer. She served in Jacksonville, Florida and Hawaii. Her related oral history describes her experience of serving in the Navy as a female during the war.","Mrs. Evelyn Rees Burt's grandmother was Anna Amelia Schlemmer, who married George Otto Adicks of Lake City, Columbia County, Florida. The Rees family originated in Southern Georgia, Virgina, and Carolina, and settled in Jacksonville, Duval County, Florida. The head of the Schlemmer family (native of Prussia, naturalized in 1866 in the Circuit Court, Perry County, Indiana) settled in Cedar Key, Levy County, Florida ca 1888. ","Men of the Rees family were plantation owners and business owners; Confederate officers and soldiers in the Civil War; and served in the Spanish American War, and Army and Air Force officers during World War I and World War II. The Schlemmers were leading citizens, real estate owners and developers of Cedar Key and the surrounding area. "],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], Evelyn Rees Burt collection, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-0-40\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], Evelyn Rees Burt collection, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-0-40"],"processinfo_html_tesm":["\u003cp\u003eProcessed November, 1967.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed November, 1967."],"relatedmaterial_html_tesm":["\u003cp\u003eItem 148, Burt, Evelyn Rees, undated. Reichelt Oral History Collection, 01-HPUA-2015-00R. FSU Special Collections \u0026amp; Archives. https://archives.lib.fsu.edu/repositories/10/archival_objects/133793\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Item 148, Burt, Evelyn Rees, undated. Reichelt Oral History Collection, 01-HPUA-2015-00R. FSU Special Collections \u0026 Archives. https://archives.lib.fsu.edu/repositories/10/archival_objects/133793"],"scopecontent_html_tesm":["\u003cp\u003eGenealogical materials, family and business papers and correspondence, pictures, tax and receipts, mortgages, a will, old newspapers and clippings.\n\u003cbr\u003e\u003cbr\u003e\tThis collection pertains to the Rees, Schlemmer and Adicks families, and contains a wide variety of materials. There is a 16-page mimeographed genealogical outline compiled by Evelyn Rees Burt entitled \"Our 'Rees' Family,\" as well as historical materials about Cedar Keys, Florida. There are biographical sketches in a 10-page family history compiled by Evelyn Rees Burt, December 1962 and May 1968, with photocopies of pictures of the home, hotel and burial plot of the Schlemmer family at Cedar Key. Memorials in the collection include holograph notices of the death of three Adicks children, holograph compositions of music, and a 3-page typed sermon regarding the 50th anniversary of the Jasper Florida Presbyterian Church, by Rev. E. F. Montgomery. There are holograph tax and financial materials related to lumber and other supplies from merchants in Key West, Florida, 1881-1910. The correspondence includes two letters by Episcopal Bishop, Edwin G. Weed, for whom Camp Weed on the gulf beyond Panacea, Florida, was named, as well as a photograph of a young boy identified as Joe B. Gudenrath.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Genealogical materials, family and business papers and correspondence, pictures, tax and receipts, mortgages, a will, old newspapers and clippings.\n \tThis collection pertains to the Rees, Schlemmer and Adicks families, and contains a wide variety of materials. There is a 16-page mimeographed genealogical outline compiled by Evelyn Rees Burt entitled \"Our 'Rees' Family,\" as well as historical materials about Cedar Keys, Florida. There are biographical sketches in a 10-page family history compiled by Evelyn Rees Burt, December 1962 and May 1968, with photocopies of pictures of the home, hotel and burial plot of the Schlemmer family at Cedar Key. Memorials in the collection include holograph notices of the death of three Adicks children, holograph compositions of music, and a 3-page typed sermon regarding the 50th anniversary of the Jasper Florida Presbyterian Church, by Rev. E. F. Montgomery. There are holograph tax and financial materials related to lumber and other supplies from merchants in Key West, Florida, 1881-1910. The correspondence includes two letters by Episcopal Bishop, Edwin G. Weed, for whom Camp Weed on the gulf beyond Panacea, Florida, was named, as well as a photograph of a young boy identified as Joe B. Gudenrath."],"userestrict_html_tesm":["\u003cp\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"names_ssim":["FSU Special Collections \u0026 Archives","Adicks Family"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"names_coll_ssim":["Adicks Family"],"famname_ssim":["Adicks Family"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":9,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"234fe2efc60f8fa639d8bcf8","timestamp":"2026-07-08T11:24:59.107Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/234fe2efc60f8fa639d8bcf8_aspace_a41088a50e58df9fc7ac2a10ba9e9055"}},{"id":"87b9e019e70053ce303e1e31_aspace_92963","type":"Series","attributes":{"title":"Family Photographs and Postcards","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/87b9e019e70053ce303e1e31_aspace_92963#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_92963","ref_ssm":["aspace_92963","aspace_92963"],"id":"87b9e019e70053ce303e1e31_aspace_92963","title_filing_ssi":"Family Photographs and Postcards","title_ssm":["Family Photographs and Postcards"],"title_tesim":["Family Photographs and Postcards"],"normalized_title_ssm":["Family Photographs and Postcards"],"text":["Family Photographs and Postcards","Jack Walton collection, 1903-1961","Series 1","/repositories/2/archival_objects/30435"],"component_level_isim":[1],"parent_ids_ssim":["87b9e019e70053ce303e1e31"],"parent_unittitles_ssm":["Jack Walton collection, 1903-1961"],"parent_unittitles_tesim":["Jack Walton collection, 1903-1961"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 1","/repositories/2/archival_objects/30435"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Jack Walton collection, 1903-1961"],"has_online_content_ssim":["false"],"child_component_count_isi":4,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"_nest_path_":"/components#0","_nest_parent_":"87b9e019e70053ce303e1e31","_root_":"87b9e019e70053ce303e1e31","_version_":1878019535211069440,"timestamp":"2026-10-03T09:16:36.438Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"87b9e019e70053ce303e1e31","title_ssm":["Jack Walton collection"],"title_tesim":["Jack Walton collection"],"ead_ssi":"87b9e019e70053ce303e1e31","unitdate_ssm":["1903-1961"],"unitdate_inclusive_ssm":["1903-1961"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2011-17","/repositories/2/resources/197"],"text":["MS-2011-17","/repositories/2/resources/197","Jack Walton collection, 1903-1961","Air pilots","Smuggling","Rum industry","World War, 1939-1945 -- Photographs","Collection is arranged by type of material into the following series: family photographs and postcards, family files, and oversized materials. Family files are further subdivided into subseries by personal name.","A well-known air mechanic, pilot, and inventor, Jack Walton was born in January of 1903 in Germany. He resided in Tampa, Florida with his wife, Viola Walton, and their daughter, Maria Anne Walton. Jack Walton was actively involved in the whisky bootlegging trade, and owned one of the \"whisky ships\" that flew between Tampa and the Bahamas.","Note written by Jean McAllister, 2011","Collection consists of photographs, newspaper clippings, financial records, family papers, travel documents, estate papers, immigration and citizenship documents, correspondence, postcards, and ephemera pertaining to Jack Walton and other members of the Walton family. Particularly prominent are World War II photographs, materials relating to aeronautics in Tampa, the \"rum running\" trade, and Jack Walton's numerous inventions.","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.","This collection consists of the personal papers of Jack Walton and his family.","USF Libraries - Tampa Special Collections","Walton, Jack (1903-)","English"],"unitid_tesim":["MS-2011-17","/repositories/2/resources/197"],"normalized_date_ssm":["1903-1961"],"normalized_title_ssm":["Jack Walton collection, 1903-1961"],"collection_title_tesim":["Jack Walton collection, 1903-1961"],"collection_ssim":["Jack Walton collection, 1903-1961"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Walton, Jack (1903-)"],"creator_ssim":["Walton, Jack (1903-)"],"creator_persname_ssim":["Walton, Jack (1903-)"],"creators_ssim":["Walton, Jack (1903-)"],"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":["Maria Walton","Donation."],"access_subjects_ssim":["Air pilots","Smuggling","Rum industry","World War, 1939-1945 -- Photographs"],"access_subjects_ssm":["Air pilots","Smuggling","Rum industry","World War, 1939-1945 -- Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["4.89 Linear Feet","5 boxes"],"extent_tesim":["4.89 Linear Feet","5 boxes"],"date_range_isim":[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],"arrangement_html_tesm":["\u003cp\u003eCollection is arranged by type of material into the following series: family photographs and postcards, family files, and oversized materials. Family files are further subdivided into subseries by personal name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Collection is arranged by type of material into the following series: family photographs and postcards, family files, and oversized materials. Family files are further subdivided into subseries by personal name."],"bioghist_html_tesm":["\u003cp\u003eA well-known air mechanic, pilot, and inventor, Jack Walton was born in January of 1903 in Germany. He resided in Tampa, Florida with his wife, Viola Walton, and their daughter, Maria Anne Walton. Jack Walton was actively involved in the whisky bootlegging trade, and owned one of the \"whisky ships\" that flew between Tampa and the Bahamas.\u003c/p\u003e\n","\u003cp\u003eNote written by Jean McAllister, 2011\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["A well-known air mechanic, pilot, and inventor, Jack Walton was born in January of 1903 in Germany. He resided in Tampa, Florida with his wife, Viola Walton, and their daughter, Maria Anne Walton. Jack Walton was actively involved in the whisky bootlegging trade, and owned one of the \"whisky ships\" that flew between Tampa and the Bahamas.","Note written by Jean McAllister, 2011"],"prefercite_html_tesm":["\u003cp\u003eJack Walton Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Jack Walton Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of photographs, newspaper clippings, financial records, family papers, travel documents, estate papers, immigration and citizenship documents, correspondence, postcards, and ephemera pertaining to Jack Walton and other members of the Walton family. Particularly prominent are World War II photographs, materials relating to aeronautics in Tampa, the \"rum running\" trade, and Jack Walton's numerous inventions.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Collection consists of photographs, newspaper clippings, financial records, family papers, travel documents, estate papers, immigration and citizenship documents, correspondence, postcards, and ephemera pertaining to Jack Walton and other members of the Walton family. Particularly prominent are World War II photographs, materials relating to aeronautics in Tampa, the \"rum running\" trade, and Jack Walton's numerous inventions."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_26d97449de07e1156adbe6760ca2d5e6\" label=\"Abstract\"\u003eThis collection consists of the personal papers of Jack Walton and his family.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of the personal papers of Jack Walton and his family."],"names_ssim":["USF Libraries - Tampa Special Collections","Walton, Jack (1903-)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Walton, Jack (1903-)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":173,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1878019535211069440,"_root_":"87b9e019e70053ce303e1e31","timestamp":"2026-10-03T09:16:36.438Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/87b9e019e70053ce303e1e31_aspace_92963"}},{"id":"447fec1457e486cb004ab68b_aspace_7c32839bae132acb2b146afefa64066a","type":"Series","attributes":{"title":"Family Photos","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/447fec1457e486cb004ab68b_aspace_7c32839bae132acb2b146afefa64066a#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_7c32839bae132acb2b146afefa64066a","ref_ssm":["aspace_7c32839bae132acb2b146afefa64066a","aspace_7c32839bae132acb2b146afefa64066a"],"id":"447fec1457e486cb004ab68b_aspace_7c32839bae132acb2b146afefa64066a","title_filing_ssi":"Family Photos","title_ssm":["Family Photos"],"title_tesim":["Family Photos"],"normalized_title_ssm":["Family Photos"],"text":["Family Photos","Reno Family Papers, 1900-2000","Box 4","/repositories/2/archival_objects/76647"],"component_level_isim":[2],"parent_ids_ssim":["447fec1457e486cb004ab68b","447fec1457e486cb004ab68b_aspace_9ec4fb201372c8fb7d89d2231cce38d3"],"parent_unittitles_ssm":["Reno Family Papers, 1900-2000","Box 4"],"parent_unittitles_tesim":["Reno Family Papers, 1900-2000","Box 4"],"parent_levels_ssm":["collection","Other level"],"unitid_ssm":["/repositories/2/archival_objects/76647"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Reno Family Papers, 1900-2000"],"has_online_content_ssim":["false"],"child_component_count_isi":17,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":186,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["The Reno Family Papers are owned by Florida International University.  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).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"_nest_path_":"/components#3/components#2","_nest_parent_":"447fec1457e486cb004ab68b_aspace_9ec4fb201372c8fb7d89d2231cce38d3","_root_":"447fec1457e486cb004ab68b","_version_":1870844441296633856,"timestamp":"2026-07-16T04:31:33.651Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"447fec1457e486cb004ab68b","title_ssm":["Reno Family Papers"],"title_tesim":["Reno Family Papers"],"ead_ssi":"447fec1457e486cb004ab68b","unitdate_ssm":["1900-2000"],"unitdate_inclusive_ssm":["1900-2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC9005","/repositories/2/resources/109"],"text":["SPC9005","/repositories/2/resources/109","Reno Family Papers, 1900-2000","Miami","correspondence","editorials","Miami Herald","Miami News","Newsday","Authorship","Journalism","Journalism--Regional","Journalists","Newspaper Employees","reporters and reporting","This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.","The materials in this collection are arranged as follows:\nHenry Reno--Personal, Professional;\nJane Wood Reno--Personal, Professional;\nChildren of Henry and Jane Reno;\nFamily and Friends;\nFamily Photos;\nGeneral Photos;\nScrapbooks--Janet Reno European Trip;\nOversize Items;\nJane Reno Oversize Items;\nRobert Reno Oversize Items;\nRobert Reno \"The Liberal Opinions\" Newspaper Column","Henry Olaf Reno was a Danish-American journalist. Born in Denmark with the surname Rasmussen, Reno emigrated to the United States in 1912 and settled in Miami, Florida. After attending the University of Tennessee, he became a reporter for the Miami Herald, working there primarily as a crime reporter for 43 years. Henry Olaf Reno had 3 children. He passed away on 7 August 1967 in Miami, Miami-Dade, Florida, USA.","Jane Wood Reno worked as a reporter for the now-defunct Miami News. Jane Wood entered Lanier High School for Girls in Macon, Georgia, at age 11. In 1925, her family moved to Miami, Florida, and she entered Miami High School as a sophomore and graduated at age 15. Her father, a lawyer, had moved down during the Miami boom years. While she intially thought that Florida was dull and boring, the 1926 hurricane changed her mind. \"It had force, all that great power. It was something I could feel,\" she said. She then entered the University of Miami as an English major, but after two years took off to Greece to live with her Aunt Margaret Sloan (Hunter) Balfour and her husband, Dr. Marshall Balfour. In 1932 she returned to Florida and went back to UM but switched her major to physics. After graduating, she went to work as a social worker in Miami.","In high school, Jane Wood had been interested in journalism and even interviewed Marjorie Stoneman Douglas. In her first two years of college, though, her partying caused her to flunk journalism. After the 1935 Hurricane, she grew disenchanted with social work and went to work at the Miami Herald.","At the Herald, she met and later married its star police reporter, Henry Olaf Reno, and even managed to scoop him on a story which earned her \"The Big Story Award.\"Jane and Henry built their house \"way out by the Everglades\" in what is now the middle of suburban Kendall. In addition to her job as a reported, Jane managed the Miami Seaquarium account as a publicist and grabbed world attention when she sent a male porpoise--via ocean liner--to Italy to console a femal porpoise whose mate had died. All of her pet peacocks were named Horace. ","\nThe Children:","Janet Reno was the first female US Attorney General, appointed by Pressident Bill Clinton in 1993. This was fitting, as she had always been a pioneer. She attended Cornell University, where she majored in chemistry during a time when there were not many women in that field. While at Cornell she was a member of the Women's Student Government Association (WSGA). She graduated from Harvard Law School as one of only 16 women in a class of 500. She worked for the Dade County State Attorney's office, and subsequently became State Attorney for the 11th Judicial Circuit of Florida in 1978. ","After her tenure at US Attorney General, she returned to Florida and became involved in environmental and educational activism. She ran in the Democratic primary for Governor in 2002, though she was subsequently defeated. She passed away from Parkinson's Disease in 2016.","Maggy Reno Hurchalla was an actitivst and a Martin County (Florida) commissioner from 1974-1994, serving as a Democrat in a heavily Republican region. She was the county's first female county commissioner and was known for her strong environmentalist views, she served on the state board of the Nature Conservancy and on the Governor's Commission for a Sustainable South Florida. She passed away in 2022.","Robert Reno followed his parents into a career in journalism. He worked for the Miami Herald in both Miami and Key West, New Orleans Times-Picayune, and Newsday. According to his obituary in The Miami Herald: \"As a liberal columnist from the 1980s until his retirement in early 2003, Reno took on the National Rifle Association, conservatives, and the super rich, railed against poverty, social inequality and corrupt politicians, and delighted in deflating the outsized egos of the powerful.\" Robert passed away in 2012.","Mark Reno had a keen sense of adventure. According to a Miami Herald article after his death, it was noted that he \"worked as a game warden, a boat captain, an alligator wrestler, a scuba diver, a paratrooper, ran tugboats and an oil supply ship off the coast of Nigeria, and, primarily, worked as a carpenter. While in the Army he earned a commission as a 2nd Lieutenant, prompting Henry to dub him \"Lt. Fuzz\" (a nod to the \"Beetle Bailey\" comic stip character). In his last two months, he managed to carve benches out of tree remains he'd kept, left over from the devastation of Hurricane Andrew in 1992.\" Mark Reno also worked as a bailiff in Dade County. He passed away in 2014.","Extended Family Represented in this Collection:","George Wood, Jane's father, was an attorney in Macon, GA, and later in Miami. Included in these papers are some of his correspondence and dockets related to legal cases he worked on during the 1920s, especially during the Florida Land Boom. ","Winifried Wood: Jane's sister was a pilot and a member of the famed Women's Air Service Pilots (WASP) during World War II. She wrote a book about her adventures entitled \"We Were WASPS,\" a manuscript of which is maintained in this collection. ","Other family members are, of course, mentioned. Jane had started to work on family geneology and some of her notes are included herein. ","LANGUAGE WARNING: Some personal correspondence and newspaper articles contain language that was common in the American South during the mid-20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.","The materials in this collection represent the Reno family's service as journalists as well as their love of South Florida. These materials are the private and public writings, photographs, and ephemera of the family and provide biographical background and context to multiple figures, including Attorney General Janet Reno. \nReflecting the family's journalistic occupations, Henry, Jane, and Robert's newspaper articles and columns make up the bulk of the items in this collection.","The Reno Family Papers are owned by Florida International University.  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).","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","Henry Olaf and Jane Wood Reno","English"],"unitid_tesim":["SPC9005","/repositories/2/resources/109"],"normalized_date_ssm":["1900-2000"],"normalized_title_ssm":["Reno Family Papers, 1900-2000"],"collection_title_tesim":["Reno Family Papers, 1900-2000"],"collection_ssim":["Reno Family Papers, 1900-2000"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"geogname_ssm":["Miami"],"geogname_ssim":["Miami"],"creator_ssm":["Henry Olaf and Jane Wood Reno"],"creator_ssim":["Henry Olaf and Jane Wood Reno"],"creator_famname_ssim":["Henry Olaf and Jane Wood Reno"],"creators_ssim":["Henry Olaf and Jane Wood Reno"],"places_ssim":["Miami"],"access_terms_ssm":["The Reno Family Papers are owned by Florida International University.  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).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"acqinfo_ssim":["Materials were donated by Maggy (Reno) Hurchalla"],"access_subjects_ssim":["correspondence","editorials","Miami Herald","Miami News","Newsday","Authorship","Journalism","Journalism--Regional","Journalists","Newspaper Employees","reporters and reporting"],"access_subjects_ssm":["correspondence","editorials","Miami Herald","Miami News","Newsday","Authorship","Journalism","Journalism--Regional","Journalists","Newspaper Employees","reporters and reporting"],"has_online_content_ssim":["false"],"extent_ssm":["22.62 Linear Feet","14 boxes"],"extent_tesim":["22.62 Linear Feet","14 boxes"],"physfacet_tesim":["4 Banker Boxes; 7 Medium Flat Boxes; 3 Large Flat Boxes"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact Special Collections \u0026amp; University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"arrangement_html_tesm":["\u003cp\u003eThe materials in this collection are arranged as follows:\nHenry Reno--Personal, Professional;\nJane Wood Reno--Personal, Professional;\nChildren of Henry and Jane Reno;\nFamily and Friends;\nFamily Photos;\nGeneral Photos;\nScrapbooks--Janet Reno European Trip;\nOversize Items;\nJane Reno Oversize Items;\nRobert Reno Oversize Items;\nRobert Reno \"The Liberal Opinions\" Newspaper Column\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The materials in this collection are arranged as follows:\nHenry Reno--Personal, Professional;\nJane Wood Reno--Personal, Professional;\nChildren of Henry and Jane Reno;\nFamily and Friends;\nFamily Photos;\nGeneral Photos;\nScrapbooks--Janet Reno European Trip;\nOversize Items;\nJane Reno Oversize Items;\nRobert Reno Oversize Items;\nRobert Reno \"The Liberal Opinions\" Newspaper Column"],"bioghist_html_tesm":["\u003cp\u003eHenry Olaf Reno was a Danish-American journalist. Born in Denmark with the surname Rasmussen, Reno emigrated to the United States in 1912 and settled in Miami, Florida. After attending the University of Tennessee, he became a reporter for the Miami Herald, working there primarily as a crime reporter for 43 years. Henry Olaf Reno had 3 children. He passed away on 7 August 1967 in Miami, Miami-Dade, Florida, USA.\u003c/p\u003e\n","\u003cp\u003eJane Wood Reno worked as a reporter for the now-defunct Miami News. Jane Wood entered Lanier High School for Girls in Macon, Georgia, at age 11. In 1925, her family moved to Miami, Florida, and she entered Miami High School as a sophomore and graduated at age 15. Her father, a lawyer, had moved down during the Miami boom years. While she intially thought that Florida was dull and boring, the 1926 hurricane changed her mind. \"It had force, all that great power. It was something I could feel,\" she said. She then entered the University of Miami as an English major, but after two years took off to Greece to live with her Aunt Margaret Sloan (Hunter) Balfour and her husband, Dr. Marshall Balfour. In 1932 she returned to Florida and went back to UM but switched her major to physics. After graduating, she went to work as a social worker in Miami.\u003c/p\u003e\n","\u003cp\u003eIn high school, Jane Wood had been interested in journalism and even interviewed Marjorie Stoneman Douglas. In her first two years of college, though, her partying caused her to flunk journalism. After the 1935 Hurricane, she grew disenchanted with social work and went to work at the Miami Herald.\u003c/p\u003e\n","\u003cp\u003eAt the Herald, she met and later married its star police reporter, Henry Olaf Reno, and even managed to scoop him on a story which earned her \"The Big Story Award.\"Jane and Henry built their house \"way out by the Everglades\" in what is now the middle of suburban Kendall. In addition to her job as a reported, Jane managed the Miami Seaquarium account as a publicist and grabbed world attention when she sent a male porpoise--via ocean liner--to Italy to console a femal porpoise whose mate had died. All of her pet peacocks were named Horace. \u003c/p\u003e\n","\u003cp\u003e\nThe Children:\u003c/p\u003e\n","\u003cp\u003eJanet Reno was the first female US Attorney General, appointed by Pressident Bill Clinton in 1993. This was fitting, as she had always been a pioneer. She attended Cornell University, where she majored in chemistry during a time when there were not many women in that field. While at Cornell she was a member of the Women's Student Government Association (WSGA). She graduated from Harvard Law School as one of only 16 women in a class of 500. She worked for the Dade County State Attorney's office, and subsequently became State Attorney for the 11th Judicial Circuit of Florida in 1978. \u003c/p\u003e\n","\u003cp\u003eAfter her tenure at US Attorney General, she returned to Florida and became involved in environmental and educational activism. She ran in the Democratic primary for Governor in 2002, though she was subsequently defeated. She passed away from Parkinson's Disease in 2016.\u003c/p\u003e\n","\u003cp\u003eMaggy Reno Hurchalla was an actitivst and a Martin County (Florida) commissioner from 1974-1994, serving as a Democrat in a heavily Republican region. She was the county's first female county commissioner and was known for her strong environmentalist views, she served on the state board of the Nature Conservancy and on the Governor's Commission for a Sustainable South Florida. She passed away in 2022.\u003c/p\u003e\n","\u003cp\u003eRobert Reno followed his parents into a career in journalism. He worked for the Miami Herald in both Miami and Key West, New Orleans Times-Picayune, and Newsday. According to his obituary in The Miami Herald: \"As a liberal columnist from the 1980s until his retirement in early 2003, Reno took on the National Rifle Association, conservatives, and the super rich, railed against poverty, social inequality and corrupt politicians, and delighted in deflating the outsized egos of the powerful.\" Robert passed away in 2012.\u003c/p\u003e\n","\u003cp\u003eMark Reno had a keen sense of adventure. According to a Miami Herald article after his death, it was noted that he \"worked as a game warden, a boat captain, an alligator wrestler, a scuba diver, a paratrooper, ran tugboats and an oil supply ship off the coast of Nigeria, and, primarily, worked as a carpenter. While in the Army he earned a commission as a 2nd Lieutenant, prompting Henry to dub him \"Lt. Fuzz\" (a nod to the \"Beetle Bailey\" comic stip character). In his last two months, he managed to carve benches out of tree remains he'd kept, left over from the devastation of Hurricane Andrew in 1992.\" Mark Reno also worked as a bailiff in Dade County. He passed away in 2014.\u003c/p\u003e\n","\u003cp\u003eExtended Family Represented in this Collection:\u003c/p\u003e\n","\u003cp\u003eGeorge Wood, Jane's father, was an attorney in Macon, GA, and later in Miami. Included in these papers are some of his correspondence and dockets related to legal cases he worked on during the 1920s, especially during the Florida Land Boom. \u003c/p\u003e\n","\u003cp\u003eWinifried Wood: Jane's sister was a pilot and a member of the famed Women's Air Service Pilots (WASP) during World War II. She wrote a book about her adventures entitled \"We Were WASPS,\" a manuscript of which is maintained in this collection. \u003c/p\u003e\n","\u003cp\u003eOther family members are, of course, mentioned. Jane had started to work on family geneology and some of her notes are included herein. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Henry Olaf Reno was a Danish-American journalist. Born in Denmark with the surname Rasmussen, Reno emigrated to the United States in 1912 and settled in Miami, Florida. After attending the University of Tennessee, he became a reporter for the Miami Herald, working there primarily as a crime reporter for 43 years. Henry Olaf Reno had 3 children. He passed away on 7 August 1967 in Miami, Miami-Dade, Florida, USA.","Jane Wood Reno worked as a reporter for the now-defunct Miami News. Jane Wood entered Lanier High School for Girls in Macon, Georgia, at age 11. In 1925, her family moved to Miami, Florida, and she entered Miami High School as a sophomore and graduated at age 15. Her father, a lawyer, had moved down during the Miami boom years. While she intially thought that Florida was dull and boring, the 1926 hurricane changed her mind. \"It had force, all that great power. It was something I could feel,\" she said. She then entered the University of Miami as an English major, but after two years took off to Greece to live with her Aunt Margaret Sloan (Hunter) Balfour and her husband, Dr. Marshall Balfour. In 1932 she returned to Florida and went back to UM but switched her major to physics. After graduating, she went to work as a social worker in Miami.","In high school, Jane Wood had been interested in journalism and even interviewed Marjorie Stoneman Douglas. In her first two years of college, though, her partying caused her to flunk journalism. After the 1935 Hurricane, she grew disenchanted with social work and went to work at the Miami Herald.","At the Herald, she met and later married its star police reporter, Henry Olaf Reno, and even managed to scoop him on a story which earned her \"The Big Story Award.\"Jane and Henry built their house \"way out by the Everglades\" in what is now the middle of suburban Kendall. In addition to her job as a reported, Jane managed the Miami Seaquarium account as a publicist and grabbed world attention when she sent a male porpoise--via ocean liner--to Italy to console a femal porpoise whose mate had died. All of her pet peacocks were named Horace. ","\nThe Children:","Janet Reno was the first female US Attorney General, appointed by Pressident Bill Clinton in 1993. This was fitting, as she had always been a pioneer. She attended Cornell University, where she majored in chemistry during a time when there were not many women in that field. While at Cornell she was a member of the Women's Student Government Association (WSGA). She graduated from Harvard Law School as one of only 16 women in a class of 500. She worked for the Dade County State Attorney's office, and subsequently became State Attorney for the 11th Judicial Circuit of Florida in 1978. ","After her tenure at US Attorney General, she returned to Florida and became involved in environmental and educational activism. She ran in the Democratic primary for Governor in 2002, though she was subsequently defeated. She passed away from Parkinson's Disease in 2016.","Maggy Reno Hurchalla was an actitivst and a Martin County (Florida) commissioner from 1974-1994, serving as a Democrat in a heavily Republican region. She was the county's first female county commissioner and was known for her strong environmentalist views, she served on the state board of the Nature Conservancy and on the Governor's Commission for a Sustainable South Florida. She passed away in 2022.","Robert Reno followed his parents into a career in journalism. He worked for the Miami Herald in both Miami and Key West, New Orleans Times-Picayune, and Newsday. According to his obituary in The Miami Herald: \"As a liberal columnist from the 1980s until his retirement in early 2003, Reno took on the National Rifle Association, conservatives, and the super rich, railed against poverty, social inequality and corrupt politicians, and delighted in deflating the outsized egos of the powerful.\" Robert passed away in 2012.","Mark Reno had a keen sense of adventure. According to a Miami Herald article after his death, it was noted that he \"worked as a game warden, a boat captain, an alligator wrestler, a scuba diver, a paratrooper, ran tugboats and an oil supply ship off the coast of Nigeria, and, primarily, worked as a carpenter. While in the Army he earned a commission as a 2nd Lieutenant, prompting Henry to dub him \"Lt. Fuzz\" (a nod to the \"Beetle Bailey\" comic stip character). In his last two months, he managed to carve benches out of tree remains he'd kept, left over from the devastation of Hurricane Andrew in 1992.\" Mark Reno also worked as a bailiff in Dade County. He passed away in 2014.","Extended Family Represented in this Collection:","George Wood, Jane's father, was an attorney in Macon, GA, and later in Miami. Included in these papers are some of his correspondence and dockets related to legal cases he worked on during the 1920s, especially during the Florida Land Boom. ","Winifried Wood: Jane's sister was a pilot and a member of the famed Women's Air Service Pilots (WASP) during World War II. She wrote a book about her adventures entitled \"We Were WASPS,\" a manuscript of which is maintained in this collection. ","Other family members are, of course, mentioned. Jane had started to work on family geneology and some of her notes are included herein. "],"odd_html_tesm":["\u003cp\u003eLANGUAGE WARNING: Some personal correspondence and newspaper articles contain language that was common in the American South during the mid-20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.\u003c/p\u003e"],"odd_heading_ssm":["Harmful Language Statement"],"odd_tesim":["LANGUAGE WARNING: Some personal correspondence and newspaper articles contain language that was common in the American South during the mid-20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection represent the Reno family's service as journalists as well as their love of South Florida. These materials are the private and public writings, photographs, and ephemera of the family and provide biographical background and context to multiple figures, including Attorney General Janet Reno. \nReflecting the family's journalistic occupations, Henry, Jane, and Robert's newspaper articles and columns make up the bulk of the items in this collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection represent the Reno family's service as journalists as well as their love of South Florida. These materials are the private and public writings, photographs, and ephemera of the family and provide biographical background and context to multiple figures, including Attorney General Janet Reno. \nReflecting the family's journalistic occupations, Henry, Jane, and Robert's newspaper articles and columns make up the bulk of the items in this collection."],"userestrict_html_tesm":["\u003cp\u003eThe Reno Family Papers are owned by Florida International University.  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).\u003c/p\u003e\n","\u003cp\u003eFor more information please visit: https://library.fiu.edu/find/copyright/general\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Reno Family Papers are owned by Florida International University.  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).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections","Henry Olaf and Jane Wood Reno"],"corpname_ssim":["FIU Special Collections"],"famname_ssim":["Henry Olaf and Jane Wood Reno"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":358,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844441296633856,"_root_":"447fec1457e486cb004ab68b","timestamp":"2026-07-16T04:31:33.651Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/447fec1457e486cb004ab68b_aspace_7c32839bae132acb2b146afefa64066a"}},{"id":"18ce43a3c782b797db9fa781_aspace_179339","type":"Series","attributes":{"title":"Family Pictures - Bolles Family Part I","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179339#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179339","ref_ssm":["aspace_179339","aspace_179339"],"id":"18ce43a3c782b797db9fa781_aspace_179339","title_filing_ssi":"Family Pictures - Bolles Family Part I","title_ssm":["Family Pictures - Bolles Family Part I"],"title_tesim":["Family Pictures - Bolles Family Part I"],"normalized_title_ssm":["Family Pictures - Bolles Family Part I"],"text":["Family Pictures - Bolles Family Part I","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Series 4","/repositories/2/archival_objects/82263"],"component_level_isim":[2],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179890"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 4","/repositories/2/archival_objects/82263"],"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":20,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":2095,"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#31/components#3","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179890","_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_179339"}},{"id":"18ce43a3c782b797db9fa781_aspace_179895","type":"Series","attributes":{"title":"Family Pictures - Bolles Family Part II","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179895#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179895","ref_ssm":["aspace_179895","aspace_179895"],"id":"18ce43a3c782b797db9fa781_aspace_179895","title_filing_ssi":"Family Pictures - Bolles Family Part II","title_ssm":["Family Pictures - Bolles Family Part II"],"title_tesim":["Family Pictures - Bolles Family Part II"],"normalized_title_ssm":["Family Pictures - Bolles Family Part II"],"text":["Family Pictures - Bolles Family Part II","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Series 1","/repositories/2/archival_objects/82121"],"component_level_isim":[2],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179893"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 1","/repositories/2/archival_objects/82121"],"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":42,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":2117,"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#32/components#0","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179893","_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_179895"}},{"id":"18ce43a3c782b797db9fa781_aspace_179482","type":"Series","attributes":{"title":"Family Pictures - CF","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179482#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179482","ref_ssm":["aspace_179482","aspace_179482"],"id":"18ce43a3c782b797db9fa781_aspace_179482","title_filing_ssi":"Family Pictures - CF","title_ssm":["Family Pictures - CF"],"title_tesim":["Family Pictures - CF"],"normalized_title_ssm":["Family Pictures - CF"],"text":["Family Pictures - CF","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Series 2","/repositories/2/archival_objects/82125"],"component_level_isim":[2],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179893"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 2","/repositories/2/archival_objects/82125"],"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":2160,"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#32/components#1","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179893","_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_179482"}},{"id":"18ce43a3c782b797db9fa781_aspace_179049","type":"Series","attributes":{"title":"Family Pictures - Drapers Part I","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179049#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179049","ref_ssm":["aspace_179049","aspace_179049"],"id":"18ce43a3c782b797db9fa781_aspace_179049","title_filing_ssi":"Family Pictures - Drapers Part I","title_ssm":["Family Pictures - Drapers Part I"],"title_tesim":["Family Pictures - Drapers Part I"],"normalized_title_ssm":["Family Pictures - Drapers Part I"],"text":["Family Pictures - Drapers Part I","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures, Family Pictures","Series 4","/repositories/2/archival_objects/82129"],"component_level_isim":[2],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179874"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures, Family Pictures"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures, Family Pictures"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 4","/repositories/2/archival_objects/82129"],"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":11,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1914,"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#29/components#3","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179874","_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_179049"}},{"id":"18ce43a3c782b797db9fa781_aspace_179889","type":"Series","attributes":{"title":"Family Pictures - Drapers Part II","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179889#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179889","ref_ssm":["aspace_179889","aspace_179889"],"id":"18ce43a3c782b797db9fa781_aspace_179889","title_filing_ssi":"Family Pictures - Drapers Part II","title_ssm":["Family Pictures - Drapers Part II"],"title_tesim":["Family Pictures - Drapers Part II"],"normalized_title_ssm":["Family Pictures - Drapers Part II"],"text":["Family Pictures - Drapers Part II","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Series 1","/repositories/2/archival_objects/82013"],"component_level_isim":[2],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179888"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 1","/repositories/2/archival_objects/82013"],"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":14,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1927,"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#30/components#0","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179888","_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_179889"}},{"id":"18ce43a3c782b797db9fa781_aspace_178699","type":"Series","attributes":{"title":"Family Pictures - Fenns","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178699#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_178699","ref_ssm":["aspace_178699","aspace_178699"],"id":"18ce43a3c782b797db9fa781_aspace_178699","title_filing_ssi":"Family Pictures - Fenns","title_ssm":["Family Pictures - Fenns"],"title_tesim":["Family Pictures - Fenns"],"normalized_title_ssm":["Family Pictures - Fenns"],"text":["Family Pictures - Fenns","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Series 2","/repositories/2/archival_objects/82080"],"component_level_isim":[2],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179888"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 2","/repositories/2/archival_objects/82080"],"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":50,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1942,"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#30/components#1","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179888","_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_178699"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Congressman James A. Haley Collection, 1948-1977","value":"Congressman James A. Haley Collection, 1948-1977","hits":588},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Congressman+James+A.+Haley+Collection%2C+1948-1977\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"William R. Jones Papers, 1953-2009","value":"William R. Jones Papers, 1953-2009","hits":569},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=William+R.+Jones+Papers%2C+1953-2009\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018","value":"Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018","hits":306},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Bruce+Means+Papers%2C+1941-1965%2C+Date+acquired%3A+07%2F06%2F2018\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Senator Lee Constantine papers, 1990-2019","value":"Senator Lee Constantine papers, 1990-2019","hits":250},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Senator+Lee+Constantine+papers%2C+1990-2019\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Harrison Sayre Circus Collection, 1863-2001, Date acquired: 00/00/2010, bulk 1949-1994","value":"Harrison Sayre Circus Collection, 1863-2001, Date acquired: 00/00/2010, bulk 1949-1994","hits":123},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Harrison+Sayre+Circus+Collection%2C+1863-2001%2C+Date+acquired%3A+00%2F00%2F2010%2C+bulk+1949-1994\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Southwest Florida Regional Planning Council Collection, 1920-2020","value":"Southwest Florida Regional Planning Council Collection, 1920-2020","hits":107},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Southwest+Florida+Regional+Planning+Council+Collection%2C+1920-2020\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Claude Pepper Papers, 1900-1989","value":"Claude Pepper Papers, 1900-1989","hits":99},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Claude+Pepper+Papers%2C+1900-1989\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Special Events, 1995-2022","value":"Special Events, 1995-2022","hits":94},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Special+Events%2C+1995-2022\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"David Bien Papers, Date acquired: 09/28/2017","value":"David Bien Papers, Date acquired: 09/28/2017","hits":75},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=David+Bien+Papers%2C+Date+acquired%3A+09%2F28%2F2017\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","value":"Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","hits":72},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Photographic+lantern+slide+collection%2C+1902-1929%2C+Date+acquired%3A+00%2F00%2F1995\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Asian male nude collection, 1939-2014, Date acquired: 07/00/2013","value":"Asian male nude collection, 1939-2014, Date acquired: 07/00/2013","hits":67},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Asian+male+nude+collection%2C+1939-2014%2C+Date+acquired%3A+07%2F00%2F2013\u0026f%5Blevel%5D%5B%5D=Series"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/collection_ssim.json?f%5Blevel%5D%5B%5D=Series"}},{"type":"facet","id":"creator_ssim","attributes":{"label":"Creator","items":[{"attributes":{"label":"Letson, Arthur (Sethuel Arthur), 1921-1995","value":"Letson, Arthur (Sethuel Arthur), 1921-1995","hits":3},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Letson%2C+Arthur+%28Sethuel+Arthur%29%2C+1921-1995\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Martin, Michael V., Ph.D.","value":"Martin, Michael V., Ph.D.","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Martin%2C+Michael+V.%2C+Ph.D.\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Byers, Billy, 1927-1996","value":"Byers, Billy, 1927-1996","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Byers%2C+Billy%2C+1927-1996\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"F Club","value":"F Club","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=F+Club\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Florida State University College of Social Work","value":"Florida State University College of Social Work","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Florida+State+University+College+of+Social+Work\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"McHugh, Donna","value":"McHugh, Donna","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=McHugh%2C+Donna\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Mittan, J. Barry","value":"Mittan, J. Barry","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Mittan%2C+J.+Barry\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Southwest Florida Regional Planning Council","value":"Southwest Florida Regional Planning Council","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Southwest+Florida+Regional+Planning+Council\u0026f%5Blevel%5D%5B%5D=Series"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/creator_ssim.json?f%5Blevel%5D%5B%5D=Series"}},{"type":"facet","id":"date_range_isim","attributes":{"label":"Date range","items":[{"attributes":{"label":"1994","value":"1994","hits":310},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1994\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1986","value":"1986","hits":309},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1986\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1985","value":"1985","hits":308},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1985\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1980","value":"1980","hits":307},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1980\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1987","value":"1987","hits":307},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1987\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1988","value":"1988","hits":307},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1988\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1997","value":"1997","hits":307},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1997\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1993","value":"1993","hits":306},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1993\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1981","value":"1981","hits":305},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1981\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1990","value":"1990","hits":305},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1990\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1995","value":"1995","hits":305},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1995\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1989","value":"1989","hits":304},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1989\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1979","value":"1979","hits":303},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1979\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1984","value":"1984","hits":303},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1984\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1992","value":"1992","hits":303},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1992\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1983","value":"1983","hits":300},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1983\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1996","value":"1996","hits":300},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1996\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1982","value":"1982","hits":298},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1982\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1991","value":"1991","hits":298},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1991\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1978","value":"1978","hits":294},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1978\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1976","value":"1976","hits":293},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1976\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1998","value":"1998","hits":293},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1998\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1977","value":"1977","hits":291},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1977\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1975","value":"1975","hits":284},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1975\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2000","value":"2000","hits":284},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2000\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1999","value":"1999","hits":281},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1999\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1974","value":"1974","hits":278},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1974\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1973","value":"1973","hits":270},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2001","value":"2001","hits":267},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2001\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1970","value":"1970","hits":264},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1970\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1971","value":"1971","hits":263},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1971\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1972","value":"1972","hits":262},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1972\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1969","value":"1969","hits":249},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1969\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2002","value":"2002","hits":249},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2002\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1968","value":"1968","hits":242},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1968\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1967","value":"1967","hits":238},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1967\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2003","value":"2003","hits":232},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2003\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1966","value":"1966","hits":230},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1966\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2005","value":"2005","hits":230},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2005\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1965","value":"1965","hits":229},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1965\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2004","value":"2004","hits":225},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2004\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1964","value":"1964","hits":223},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1964\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2006","value":"2006","hits":220},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2006\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1949","value":"1949","hits":215},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1949\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1950","value":"1950","hits":215},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1950\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1947","value":"1947","hits":214},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1947\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1948","value":"1948","hits":213},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1948\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1953","value":"1953","hits":213},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1953\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1946","value":"1946","hits":212},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1946\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1954","value":"1954","hits":212},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1954\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1963","value":"1963","hits":212},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1963\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1952","value":"1952","hits":211},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1952\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1960","value":"1960","hits":210},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1960\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1945","value":"1945","hits":209},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1945\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1955","value":"1955","hits":209},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1955\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2007","value":"2007","hits":209},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2007\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1951","value":"1951","hits":207},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1951\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1944","value":"1944","hits":205},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1944\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1962","value":"1962","hits":204},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1962\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1959","value":"1959","hits":203},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1959\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1956","value":"1956","hits":202},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1956\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1957","value":"1957","hits":202},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1957\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1958","value":"1958","hits":202},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1958\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1943","value":"1943","hits":199},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1943\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1961","value":"1961","hits":198},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1961\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1942","value":"1942","hits":196},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1942\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1941","value":"1941","hits":192},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1941\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2008","value":"2008","hits":188},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2008\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1940","value":"1940","hits":187},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1940\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1938","value":"1938","hits":185},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1938\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1939","value":"1939","hits":183},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1939\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1937","value":"1937","hits":181},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1937\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1936","value":"1936","hits":178},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1936\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1935","value":"1935","hits":175},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1934","value":"1934","hits":172},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1934\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2009","value":"2009","hits":169},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2009\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1933","value":"1933","hits":168},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1933\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1930","value":"1930","hits":166},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1930\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1932","value":"1932","hits":166},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1932\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1926","value":"1926","hits":163},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1926\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1931","value":"1931","hits":163},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1931\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1928","value":"1928","hits":161},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1927","value":"1927","hits":160},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1927\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1929","value":"1929","hits":160},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1929\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2010","value":"2010","hits":160},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2010\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1925","value":"1925","hits":158},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2011","value":"2011","hits":157},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2011\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1924","value":"1924","hits":155},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1924\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1923","value":"1923","hits":152},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1923\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1920","value":"1920","hits":151},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1920\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1921","value":"1921","hits":151},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1921\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1922","value":"1922","hits":151},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1922\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2012","value":"2012","hits":151},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"2013","value":"2013","hits":138},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2013\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1918","value":"1918","hits":133},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1918\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1919","value":"1919","hits":133},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1919\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1917","value":"1917","hits":129},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1917\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1916","value":"1916","hits":128},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1916\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1915","value":"1915","hits":126},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1915\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"1914","value":"1914","hits":124},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1914\u0026f%5Blevel%5D%5B%5D=Series"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/date_range_isim.json?f%5Blevel%5D%5B%5D=Series"}},{"type":"facet","id":"level_ssim","attributes":{"label":"Level","items":[{"attributes":{"label":"Series","value":"Series","hits":8556},"links":{"remove":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/level_ssim.json?f%5Blevel%5D%5B%5D=Series"}},{"type":"facet","id":"names_ssim","attributes":{"label":"Names","items":[{"attributes":{"label":"Booth Theatre (New York, N.Y.)","value":"Booth Theatre (New York, N.Y.)","hits":12},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Booth+Theatre+%28New+York%2C+N.Y.%29"}},{"attributes":{"label":"Shubert Theatre (Organization : New York, N.Y.)","value":"Shubert Theatre (Organization : New York, N.Y.)","hits":12},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Shubert+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29"}},{"attributes":{"label":"Imperial Theatre (Organization : New York, N.Y.)","value":"Imperial Theatre (Organization : New York, N.Y.)","hits":11},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Imperial+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29"}},{"attributes":{"label":"Martin Beck Theatre (New York, N.Y.)","value":"Martin Beck Theatre (New York, N.Y.)","hits":11},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Martin+Beck+Theatre+%28New+York%2C+N.Y.%29"}},{"attributes":{"label":"Majestic Theatre (Organization : New York, N.Y.)","value":"Majestic Theatre (Organization : New York, N.Y.)","hits":10},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Majestic+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29"}},{"attributes":{"label":"Plymouth Theatre Corporation (New York, N.Y.)","value":"Plymouth Theatre Corporation (New York, N.Y.)","hits":10},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Plymouth+Theatre+Corporation+%28New+York%2C+N.Y.%29"}},{"attributes":{"label":"Broadhurst Theatre (Organization : New York, N.Y.)","value":"Broadhurst Theatre (Organization : New York, N.Y.)","hits":9},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Broadhurst+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29"}},{"attributes":{"label":"Broadway Theatre (Organization : New York, N.Y.)","value":"Broadway Theatre (Organization : New York, N.Y.)","hits":9},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Broadway+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29"}},{"attributes":{"label":"Morosco Theatre (Organization : New York, N.Y.)","value":"Morosco Theatre (Organization : New York, N.Y.)","hits":9},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Morosco+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29"}},{"attributes":{"label":"Music Box Theater (New York, N.Y.)","value":"Music Box Theater (New York, N.Y.)","hits":9},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Music+Box+Theater+%28New+York%2C+N.Y.%29"}},{"attributes":{"label":"Barrymore Theatre Corporation","value":"Barrymore Theatre Corporation","hits":8},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Barrymore+Theatre+Corporation"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/names_ssim.json?f%5Blevel%5D%5B%5D=Series"}},{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"FSU Special Collections \u0026 Archives","value":"FSU Special Collections \u0026 Archives","hits":2757},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=FSU+Special+Collections+%26+Archives"}},{"attributes":{"label":"USF Libraries - Tampa Special Collections","value":"USF Libraries - Tampa Special Collections","hits":1123},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=USF+Libraries+-+Tampa+Special+Collections"}},{"attributes":{"label":"The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections","value":"The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections","hits":795},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=The+Sarah+D.+and+L.+Kirk+McKay%2C+Jr.+Archives+Center+Manuscript+Collections"}},{"attributes":{"label":"UCF Special Collections","value":"UCF Special Collections","hits":762},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=UCF+Special+Collections"}},{"attributes":{"label":"Florida Atlantic University Libraries","value":"Florida Atlantic University Libraries","hits":559},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=Florida+Atlantic+University+Libraries"}},{"attributes":{"label":"FIU Special Collections","value":"FIU Special Collections","hits":372},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=FIU+Special+Collections"}},{"attributes":{"label":"Thomas B. Mack Florida Citrus Archives","value":"Thomas B. Mack Florida Citrus Archives","hits":348},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=Thomas+B.+Mack+Florida+Citrus+Archives"}},{"attributes":{"label":"UCF University Archives","value":"UCF University Archives","hits":332},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=UCF+University+Archives"}},{"attributes":{"label":"Florida Gulf Coast University Archives","value":"Florida Gulf Coast University Archives","hits":287},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=Florida+Gulf+Coast+University+Archives"}},{"attributes":{"label":"UNF Library Special Collections and University Archives","value":"UNF Library Special Collections and University Archives","hits":280},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=UNF+Library+Special+Collections+and+University+Archives"}},{"attributes":{"label":"Broward County Historical Archives","value":"Broward County Historical Archives","hits":223},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=Broward+County+Historical+Archives"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/repository_ssim.json?f%5Blevel%5D%5B%5D=Series"}},{"type":"facet","id":"geogname_ssim","attributes":{"label":"Places","items":[{"attributes":{"label":"Community organization.","value":"Community organization.","hits":4},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Community+organization."}},{"attributes":{"label":"Vero Beach (Fla.)","value":"Vero Beach (Fla.)","hits":4},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Vero+Beach+%28Fla.%29"}},{"attributes":{"label":"Zines.","value":"Zines.","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Zines."}},{"attributes":{"label":"20th Anniversary -- Florida Gulf Coast University","value":"20th Anniversary -- Florida Gulf Coast University","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=20th+Anniversary+--+Florida+Gulf+Coast+University"}},{"attributes":{"label":"Art.","value":"Art.","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Art."}},{"attributes":{"label":"Bahia Mar Yachting Center","value":"Bahia Mar Yachting Center","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Bahia+Mar+Yachting+Center"}},{"attributes":{"label":"COVID-19 (Disease)--Social aspects.","value":"COVID-19 (Disease)--Social aspects.","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=COVID-19+%28Disease%29--Social+aspects."}},{"attributes":{"label":"Captiva Island (Fla.)","value":"Captiva Island (Fla.)","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Captiva+Island+%28Fla.%29"}},{"attributes":{"label":"Charlotte County (Fla.)","value":"Charlotte County (Fla.)","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Charlotte+County+%28Fla.%29"}},{"attributes":{"label":"Collier County (Fla.)","value":"Collier County (Fla.)","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Collier+County+%28Fla.%29"}},{"attributes":{"label":"Commencement ceremonies","value":"Commencement ceremonies","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Commencement+ceremonies"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/geogname_ssim.json?f%5Blevel%5D%5B%5D=Series"}},{"type":"facet","id":"access_subjects_ssim","attributes":{"label":"Subjects","items":[{"attributes":{"label":"FGCU Alumni Association","value":"FGCU Alumni Association","hits":14},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=FGCU+Alumni+Association\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"American Association of University Women","value":"American Association of University Women","hits":4},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=American+Association+of+University+Women\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Oral history","value":"Oral history","hits":4},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Oral+history\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"25th Anniversary -- Florida Gulf Coast University","value":"25th Anniversary -- Florida Gulf Coast University","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=25th+Anniversary+--+Florida+Gulf+Coast+University\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Athletics","value":"Athletics","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Athletics\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Maps","value":"Maps","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Maps\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Water--Management.","value":"Water--Management.","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Water--Management.\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Alico Arena","value":"Alico Arena","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Alico+Arena\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Architecture -- Florida -- Tampa","value":"Architecture -- Florida -- Tampa","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Architecture+--+Florida+--+Tampa\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Architecture, Domestic -- Designs and plans","value":"Architecture, Domestic -- Designs and plans","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Architecture%2C+Domestic+--+Designs+and+plans\u0026f%5Blevel%5D%5B%5D=Series"}},{"attributes":{"label":"Beach integration","value":"Beach integration","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Beach+integration\u0026f%5Blevel%5D%5B%5D=Series"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/access_subjects_ssim.json?f%5Blevel%5D%5B%5D=Series"}},{"type":"search_field","id":"all_fields","attributes":{"label":"All Fields"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026search_field=all_fields"}},{"type":"search_field","id":"keyword","attributes":{"label":"Keyword"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026search_field=keyword"}},{"type":"search_field","id":"name","attributes":{"label":"Name"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026search_field=name"}},{"type":"search_field","id":"place","attributes":{"label":"Place"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026search_field=place"}},{"type":"search_field","id":"subject","attributes":{"label":"Subject"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026search_field=subject"}},{"type":"search_field","id":"title","attributes":{"label":"Title"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026search_field=title"}},{"type":"search_field","id":"container","attributes":{"label":"Container"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026search_field=container"}},{"type":"search_field","id":"identifier","attributes":{"label":"Identifier"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026search_field=identifier"}},{"type":"sort","id":"score desc, title_sort asc","attributes":{"label":"relevance"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026sort=score+desc%2C+title_sort+asc"}},{"type":"sort","id":"date_sort asc","attributes":{"label":"date (ascending)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026sort=date_sort+asc"}},{"type":"sort","id":"date_sort desc","attributes":{"label":"date (descending)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026sort=date_sort+desc"}},{"type":"sort","id":"creator_sort asc","attributes":{"label":"creator (A-Z)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026sort=creator_sort+asc"}},{"type":"sort","id":"creator_sort desc","attributes":{"label":"creator (Z-A)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026sort=creator_sort+desc"}},{"type":"sort","id":"title_sort asc","attributes":{"label":"title (A-Z)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026sort=title_sort+asc"}},{"type":"sort","id":"title_sort desc","attributes":{"label":"title (Z-A)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=281\u0026sort=title_sort+desc"}}]}