{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=283","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=282","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=284","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=856"},"meta":{"pages":{"current_page":283,"next_page":284,"prev_page":282,"total_pages":856,"limit_value":10,"offset_value":2820,"total_count":8556,"first_page?":false,"last_page?":false}},"data":[{"id":"4d66f516ad4d8fd022912e46_aspace_151266","type":"Series","attributes":{"title":"Famous Men in Florida","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/4d66f516ad4d8fd022912e46_aspace_151266#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_151266","ref_ssm":["aspace_151266","aspace_151266"],"id":"4d66f516ad4d8fd022912e46_aspace_151266","title_filing_ssi":"Famous Men in Florida","title_ssm":["Famous Men in Florida"],"title_tesim":["Famous Men in Florida"],"normalized_title_ssm":["Famous Men in Florida"],"text":["Famous Men in Florida","Allen Morris Papers, 1861-1970","Series 20","/repositories/10/archival_objects/54528","box 281","No discernible arrangement. 1947-1965. 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As a journalist he moved from Miami to Tallahassee and began writing the popular column, \"Cracker Politics,\" which covered politics in the state.\n\u003cbr\u003e\u003cbr\u003eHis work in the state capital eventually led to his career as the Clerk of the House of Representatives for the State of Florida from 1966 until 1986. His most popular book, The Florida Handbook, has been published since the late 1940s and he is also the author of several other works including Florida Place Names and Our Florida Government. Allen Morris is described in greater detail in several biographical sketches which are to be found in his personal papers.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Allen Morris was born and educated in Chicago, Illinois, December 3, 1909. He came to Florida and settled in Miami in 1923. There he became connected with the Miami Daily News, which lead to a successful career as reporter, editor, and author. As a journalist he moved from Miami to Tallahassee and began writing the popular column, \"Cracker Politics,\" which covered politics in the state.\n His work in the state capital eventually led to his career as the Clerk of the House of Representatives for the State of Florida from 1966 until 1986. His most popular book, The Florida Handbook, has been published since the late 1940s and he is also the author of several other works including Florida Place Names and Our Florida Government. 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The papers consist of correspondence; biographical sketches of Florida officials and other famous Floridians; photographs, programs, and other materials related to the Allen Morris Legislative Awards; historical data concerning place names, historical houses, rivers and river boats.\n\u003cbr\u003e\u003cbr\u003eAlso included is a complete file of \"Cracker Politics,\" the column that Allen Morris was responsible for writing for so many years, as well as notes and materials compiled and used in the creation of the Florida Handbook. A large portion of the collection is made up of papers, letters, and notes relating to important figures such as governors, state legislators and other Florida politicians. Also included are books and manuscripts written by Allen Morris and books and pamphlets written by others.\n\u003cbr\u003e\u003cbr\u003e\tIncludes MSS 75-11.\u003c/p\u003e","\u003cp\u003eSelect materials from the Allen Morris Papers have been digitized and are available through the \u003cextref href=\"http://diginole.lib.fsu.edu/islandora/search/?type=edismax\u0026amp;collection=fsu%3Aallenmorriscollection\"\u003eFSU Digital Library\u003c/extref\u003e\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Online Copies Available"],"scopecontent_tesim":["The Allen Morris Papers consist of personal and professional records and research materials accumulated by Mr. Morris over a period of about forty-one years. The papers consist of correspondence; biographical sketches of Florida officials and other famous Floridians; photographs, programs, and other materials related to the Allen Morris Legislative Awards; historical data concerning place names, historical houses, rivers and river boats.\n Also included is a complete file of \"Cracker Politics,\" the column that Allen Morris was responsible for writing for so many years, as well as notes and materials compiled and used in the creation of the Florida Handbook. A large portion of the collection is made up of papers, letters, and notes relating to important figures such as governors, state legislators and other Florida politicians. 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Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"names_ssim":["FSU Special Collections \u0026 Archives"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":34,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1877832627839303680,"_root_":"bb5bd18e94d41b028bd41c4b","timestamp":"2026-10-01T07:45:47.679Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/bb5bd18e94d41b028bd41c4b_aspace_200235"}},{"id":"2a5a0b9ae0683d2c80f55473_aspace_109115","type":"Series","attributes":{"title":"Fannie Ushkow Collection","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2a5a0b9ae0683d2c80f55473_aspace_109115#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_109115","ref_ssm":["aspace_109115","aspace_109115"],"id":"2a5a0b9ae0683d2c80f55473_aspace_109115","title_filing_ssi":"Fannie Ushkow Collection","title_ssm":["Fannie Ushkow Collection"],"title_tesim":["Fannie Ushkow Collection"],"normalized_title_ssm":["Fannie Ushkow Collection"],"text":["Fannie Ushkow Collection","Fannie Ushkow Collection, 1916-1978","Series 1","/repositories/2/archival_objects/18823"],"component_level_isim":[1],"parent_ids_ssim":["2a5a0b9ae0683d2c80f55473"],"parent_unittitles_ssm":["Fannie Ushkow Collection, 1916-1978"],"parent_unittitles_tesim":["Fannie Ushkow Collection, 1916-1978"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 1","/repositories/2/archival_objects/18823"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["Fannie Ushkow Collection, 1916-1978"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.  Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"parent_access_terms_tesm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement. ","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder. ","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"_nest_path_":"/components#0","_nest_parent_":"2a5a0b9ae0683d2c80f55473","_root_":"2a5a0b9ae0683d2c80f55473","_version_":1870842050885189632,"timestamp":"2026-07-16T03:53:33.963Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2a5a0b9ae0683d2c80f55473","title_ssm":["Fannie Ushkow Collection"],"title_tesim":["Fannie Ushkow Collection"],"ead_ssi":"2a5a0b9ae0683d2c80f55473","unitdate_ssm":["1916-1978"],"unitdate_inclusive_ssm":["1916-1978"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["PMC00024","/repositories/2/resources/45"],"text":["PMC00024","/repositories/2/resources/45","Fannie Ushkow Collection, 1916-1978","Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.  Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","Processed in 2018 by James Drayton","The collection of Fannie Ushkow consists of manuscript music, print music, personal songbooks, personal papers, programs, and pictures relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Audio recordings have been relocated to Judaica Sound Archives. Pianist and vocalist Fannie Ushkow held a master's degree in music and was a devoted member of Hadassah.  She created several original musical-theatre programs for their events and also published television programs for local South Florida public television. For 13+ years, Fannie Ushkow was devoted to directing the Melodears choral group at her home in Century Village in West Palm Beach.","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement. ","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder. ","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections.","Florida Atlantic University Libraries","English"],"unitid_tesim":["PMC00024","/repositories/2/resources/45"],"normalized_date_ssm":["1916-1978"],"normalized_title_ssm":["Fannie Ushkow Collection, 1916-1978"],"collection_title_tesim":["Fannie Ushkow Collection, 1916-1978"],"collection_ssim":["Fannie Ushkow Collection, 1916-1978"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"access_terms_ssm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement. ","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder. ","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["1.50 Linear Feet","8 boxes other_unmapped"],"extent_tesim":["1.50 Linear Feet","8 boxes other_unmapped"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.\u0026#xA0; Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.  Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida."],"processinfo_html_tesm":["\u003cp\u003eProcessed in 2018 by James Drayton\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in 2018 by James Drayton"],"scopecontent_html_tesm":["\u003cp\u003eThe collection of Fannie Ushkow consists of manuscript music, print music, personal songbooks, personal papers, programs, and pictures relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Audio recordings have been relocated to Judaica Sound Archives. Pianist and vocalist Fannie Ushkow held a master's degree in music and was a devoted member of Hadassah.\u0026#xA0; She created several original musical-theatre programs for their events and also published television programs for local South Florida public television. For 13+ years, Fannie Ushkow was devoted to directing the Melodears choral group at her home in Century Village in West Palm Beach.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection of Fannie Ushkow consists of manuscript music, print music, personal songbooks, personal papers, programs, and pictures relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Audio recordings have been relocated to Judaica Sound Archives. Pianist and vocalist Fannie Ushkow held a master's degree in music and was a devoted member of Hadassah.  She created several original musical-theatre programs for their events and also published television programs for local South Florida public television. For 13+ years, Fannie Ushkow was devoted to directing the Melodears choral group at her home in Century Village in West Palm Beach."],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement. \u003c/p\u003e\n","\u003cp\u003eWhen using electronic copies or images, please keep in mind that copyright law applies. 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Also, If the researcher desires to reuse material for commercial use, please contact Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement. ","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder. ","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"names_ssim":["Florida Atlantic University Libraries"],"corpname_ssim":["Florida Atlantic University Libraries"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":729,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870842050885189632,"_root_":"2a5a0b9ae0683d2c80f55473","timestamp":"2026-07-16T03:53:33.963Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2a5a0b9ae0683d2c80f55473_aspace_109115"}},{"id":"085cdf111f574f3d1d8dd845_aspace_158122","type":"Series","attributes":{"title":"Fanzines","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/085cdf111f574f3d1d8dd845_aspace_158122#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_158122","ref_ssm":["aspace_158122","aspace_158122"],"id":"085cdf111f574f3d1d8dd845_aspace_158122","title_filing_ssi":"Fanzines","title_ssm":["Fanzines"],"title_tesim":["Fanzines"],"normalized_title_ssm":["Fanzines"],"text":["Fanzines","Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017","Comics Zines, Fanzines, Humor \u0026 Inspirational Zines","Series 2","/repositories/2/archival_objects/8927"],"component_level_isim":[2],"parent_ids_ssim":["085cdf111f574f3d1d8dd845","085cdf111f574f3d1d8dd845_aspace_158087"],"parent_unittitles_ssm":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017","Comics Zines, Fanzines, Humor \u0026 Inspirational Zines"],"parent_unittitles_tesim":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017","Comics Zines, Fanzines, Humor \u0026 Inspirational Zines"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 2","/repositories/2/archival_objects/8927"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017"],"has_online_content_ssim":["false"],"child_component_count_isi":5,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":691,"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#19/components#1","_nest_parent_":"085cdf111f574f3d1d8dd845_aspace_158087","_root_":"085cdf111f574f3d1d8dd845","timestamp":"2026-05-28T03:16:33.791Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"085cdf111f574f3d1d8dd845","title_ssm":["Tampa Zine Fest Public Library"],"title_tesim":["Tampa Zine Fest Public Library"],"ead_ssi":"085cdf111f574f3d1d8dd845","unitdate_ssm":["1980-2016","Date acquired: 00/00/2017"],"unitdate_inclusive_ssm":["1980-2016"],"unitdate_other_ssim":["Date acquired: 00/00/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2017-08","/repositories/2/resources/47"],"text":["MS-2017-08","/repositories/2/resources/47","Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017","Punk rock music","Self-publishing","Personal Narratives","Social justice","Anarchism","Women's rights","Mental health","Poetry","Communism","Subculture","Feminism","Marxism","Photography","Riot grrrl movement","Creative nonfiction","Gay culture","lesbian culture","Socialism","Zines","LGBTQ+ zines","Accrual integrated 2026-02; CC","The zines within this collection have been arranged into categories by subject and format. Within each category, zines are arranged in alphabetical order. Overlap of subject and themes are present within the collection, and a basic description of content is provided for each zine.","Processed","The majority of zines within this collection are based out of the United States, though several come from Canada, Europe, Asia, and Oceania. Publication locations are provided at the item level, when information is available. Major collection areas include: perzines (personal zines), art and photography zines, literary zines, poetry zines, political zines, community and activism zines, women's experience zines, music zines, travel zines, DIY zines, comix zines, and LGBTQIA zines. Within these categories, frequent topics of discussion are feminism, mental health, gender, sexuality, identity, body image, leftist politics (i.e. communism, socialism, Marxism, etc.), anarchism, activism, race, community organizing, punk culture, and subculture.","This finding aid indicates if we hold multiple copies of the same zine within the collection. Overall, there are 538 distinct zines.","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.","Zine is a shortened version of magazine or fanzine, with a focus on self-publishing and Do It Youself (D.I.Y.) aesthetics. Zines are anti-copyright and are not for profit.\n\tSpecial Collections at the University of South Florida is now functioning as a repository for the Tampa Zine Library, which was established in conjunction with the Tampa Zine Fest in 2012. This particular collection reflects a mixture of donations, personal acquisitions, and zines that were featured at Tampa Zine Fest.","USF Libraries - Tampa Special Collections","Bloom, Philip","English"],"unitid_tesim":["MS-2017-08","/repositories/2/resources/47"],"normalized_date_ssm":["1980-2016, Date acquired: 00/00/2017"],"normalized_title_ssm":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017"],"collection_title_tesim":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017"],"collection_ssim":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Bloom, Philip"],"creator_ssim":["Bloom, Philip"],"creator_persname_ssim":["Bloom, Philip"],"creators_ssim":["Bloom, Philip"],"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":["Philip Bloom","Donation."],"access_subjects_ssim":["Punk rock music","Self-publishing","Personal Narratives","Social justice","Anarchism","Women's rights","Mental health","Poetry","Communism","Subculture","Feminism","Marxism","Photography","Riot grrrl movement","Creative nonfiction","Gay culture","lesbian culture","Socialism","Zines","LGBTQ+ zines"],"access_subjects_ssm":["Punk rock music","Self-publishing","Personal Narratives","Social justice","Anarchism","Women's rights","Mental health","Poetry","Communism","Subculture","Feminism","Marxism","Photography","Riot grrrl movement","Creative nonfiction","Gay culture","lesbian culture","Socialism","Zines","LGBTQ+ zines"],"has_online_content_ssim":["false"],"extent_ssm":["6.00 Linear Feet","18 boxes"],"extent_tesim":["6.00 Linear Feet","18 boxes"],"genreform_ssim":["Zines","LGBTQ+ zines"],"date_range_isim":[1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016],"accruals_html_tesm":["\u003cp\u003eAccrual integrated 2026-02; CC\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Accrual integrated 2026-02; CC"],"arrangement_html_tesm":["\u003cp\u003eThe zines within this collection have been arranged into categories by subject and format. Within each category, zines are arranged in alphabetical order. Overlap of subject and themes are present within the collection, and a basic description of content is provided for each zine.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The zines within this collection have been arranged into categories by subject and format. Within each category, zines are arranged in alphabetical order. Overlap of subject and themes are present within the collection, and a basic description of content is provided for each zine."],"prefercite_html_tesm":["\u003cp\u003eTampa Zine Fest Public Library, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Tampa Zine Fest Public Library, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eProcessed\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed"],"scopecontent_html_tesm":["\u003cp\u003eThe majority of zines within this collection are based out of the United States, though several come from Canada, Europe, Asia, and Oceania. Publication locations are provided at the item level, when information is available. Major collection areas include: perzines (personal zines), art and photography zines, literary zines, poetry zines, political zines, community and activism zines, women's experience zines, music zines, travel zines, DIY zines, comix zines, and LGBTQIA zines. Within these categories, frequent topics of discussion are feminism, mental health, gender, sexuality, identity, body image, leftist politics (i.e. communism, socialism, Marxism, etc.), anarchism, activism, race, community organizing, punk culture, and subculture.\u003c/p\u003e\n","\u003cp\u003eThis finding aid indicates if we hold multiple copies of the same zine within the collection. Overall, there are 538 distinct zines.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The majority of zines within this collection are based out of the United States, though several come from Canada, Europe, Asia, and Oceania. Publication locations are provided at the item level, when information is available. Major collection areas include: perzines (personal zines), art and photography zines, literary zines, poetry zines, political zines, community and activism zines, women's experience zines, music zines, travel zines, DIY zines, comix zines, and LGBTQIA zines. Within these categories, frequent topics of discussion are feminism, mental health, gender, sexuality, identity, body image, leftist politics (i.e. communism, socialism, Marxism, etc.), anarchism, activism, race, community organizing, punk culture, and subculture.","This finding aid indicates if we hold multiple copies of the same zine within the collection. Overall, there are 538 distinct zines."],"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_330acc9f5dfb8f75036aa56087852cfe\" label=\"Abstract\"\u003eZine is a shortened version of magazine or fanzine, with a focus on self-publishing and Do It Youself (D.I.Y.) aesthetics. Zines are anti-copyright and are not for profit.\n\tSpecial Collections at the University of South Florida is now functioning as a repository for the Tampa Zine Library, which was established in conjunction with the Tampa Zine Fest in 2012. This particular collection reflects a mixture of donations, personal acquisitions, and zines that were featured at Tampa Zine Fest.\u003c/abstract\u003e"],"abstract_tesim":["Zine is a shortened version of magazine or fanzine, with a focus on self-publishing and Do It Youself (D.I.Y.) aesthetics. Zines are anti-copyright and are not for profit.\n\tSpecial Collections at the University of South Florida is now functioning as a repository for the Tampa Zine Library, which was established in conjunction with the Tampa Zine Fest in 2012. This particular collection reflects a mixture of donations, personal acquisitions, and zines that were featured at Tampa Zine Fest."],"names_ssim":["USF Libraries - Tampa Special Collections","Bloom, Philip"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Bloom, Philip"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":739,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"085cdf111f574f3d1d8dd845","timestamp":"2026-05-28T03:16:33.791Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/085cdf111f574f3d1d8dd845_aspace_158122"}},{"id":"18ce43a3c782b797db9fa781_aspace_176277","type":"Series","attributes":{"title":"Fashion","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_176277#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_176277","ref_ssm":["aspace_176277","aspace_176277"],"id":"18ce43a3c782b797db9fa781_aspace_176277","title_filing_ssi":"Fashion","title_ssm":["Fashion"],"title_tesim":["Fashion"],"normalized_title_ssm":["Fashion"],"text":["Fashion","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations","Series 6","/repositories/2/archival_objects/81687"],"component_level_isim":[2],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179818"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 6","/repositories/2/archival_objects/81687"],"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":13,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":670,"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#16/components#5","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179818","_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_176277"}},{"id":"f91f4bfd564812a99cc9e3aa_aspace_85adbbe089ebe30beb6ea749e1247cbf","type":"Series","attributes":{"title":"Fashionably Late","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f91f4bfd564812a99cc9e3aa_aspace_85adbbe089ebe30beb6ea749e1247cbf#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_85adbbe089ebe30beb6ea749e1247cbf","ref_ssm":["aspace_85adbbe089ebe30beb6ea749e1247cbf","aspace_85adbbe089ebe30beb6ea749e1247cbf"],"id":"f91f4bfd564812a99cc9e3aa_aspace_85adbbe089ebe30beb6ea749e1247cbf","title_filing_ssi":"Fashionably Late","title_ssm":["Fashionably Late"],"title_tesim":["Fashionably Late"],"normalized_title_ssm":["Fashionably Late"],"text":["Fashionably Late","Olivia Goldsmith Collection, 1992-1996","/repositories/3/archival_objects/1726","The series is arranged alphabetically by title.","The Fashionably Late series contains a manuscript entitled \"Designer Genes.\" This work will later become known as Fashionably late. The series includes typed, as well as handwritten notes. Post-it notes with edits by Goldsmith are also included in the manuscripts."],"component_level_isim":[1],"parent_ids_ssim":["f91f4bfd564812a99cc9e3aa"],"parent_unittitles_ssm":["Olivia Goldsmith Collection, 1992-1996"],"parent_unittitles_tesim":["Olivia Goldsmith Collection, 1992-1996"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/3/archival_objects/1726"],"repository_ssim":["Bienes Museum of the Modern Book: The Dianne and Michael Bienes Special Collections and Rare Book Library"],"collection_ssim":["Olivia Goldsmith Collection, 1992-1996"],"has_online_content_ssim":["false"],"child_component_count_isi":10,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":9,"parent_access_restrict_tesm":["The Olivia Goldsmith Collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe series is arranged alphabetically by title.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The series is arranged alphabetically by title."],"odd_html_tesm":["\u003cp\u003eThe Fashionably Late series contains a manuscript entitled \"Designer Genes.\" This work will later become known as Fashionably late. The series includes typed, as well as handwritten notes. Post-it notes with edits by Goldsmith are also included in the manuscripts.\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["The Fashionably Late series contains a manuscript entitled \"Designer Genes.\" This work will later become known as Fashionably late. The series includes typed, as well as handwritten notes. Post-it notes with edits by Goldsmith are also included in the manuscripts."],"_nest_path_":"/components#1","_nest_parent_":"f91f4bfd564812a99cc9e3aa","_root_":"f91f4bfd564812a99cc9e3aa","timestamp":"2026-04-21T01:43:53.143Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f91f4bfd564812a99cc9e3aa","title_filing_ssi":"Goldsmith, Olivia Collection","title_ssm":["Olivia Goldsmith Collection"],"title_tesim":["Olivia Goldsmith Collection"],"ead_ssi":"f91f4bfd564812a99cc9e3aa","unitdate_ssm":["1992-1996"],"unitdate_inclusive_ssm":["1992-1996"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["BIENES.1996.2","/repositories/3/resources/45"],"text":["BIENES.1996.2","/repositories/3/resources/45","Olivia Goldsmith Collection, 1992-1996","The Olivia Goldsmith Collection is open for research.","The Olivia Goldsmith Collection contains seven series. Series I. Bestseller, Series II. Fashionably Late, Series III. First Wives Club, Series IV. Flavor of the Month, Series V. Marrying Mom, Series VI. Simple Isn't Easy and Series VII. Printed Materials.","Olivia Goldsmith was born Randy Goldfield in Dumont, New Jersey on January 1, 1949. Her debut novel, \"The First Wives Club\", was published in 1992 and was made into a film in 1996. Other novels written by Goldsmith including Bestseller, Fashionably Late, Flavor of the month, Marrying Mom, and Simple Isn't Easy. Goldsmith attended New York University where she majored in education. She later worked in buisness marketing and was the first woman to work for the Booz Allen Hamilton Firm. In 1981, she began Omni Consulting which she sold in 1984. After selling the firm, she began to focus on writing. She wrote several books for children published under the name Justine Rendal. In 1992, the First Wives Club was published under the pseudonym Olivia Goldsmith. Goldsmith continued to use this name for other books she published. On January 15, 2004, Olivia Goldmith died as a result of complications from the administration of anaesthesia before an elective surgery. Her final two books were published posthumously.","View a selection of digitized materials from the Olivia Goldsmith Collection in the Broward County Library Digital Archives.","The Olivia Goldsmith Collection contains manuscripts, books, notes and correspondence by author Olivia Goldsmith (1949-2004). Manuscripts and drafts included are Bestseller, Fashionably Late, Flavor of the Month, Marrying Mom and Simple Isn't Easy","Bienes Museum of the Modern Book: The Dianne and Michael Bienes Special Collections and Rare Book Library","English"],"unitid_tesim":["BIENES.1996.2","/repositories/3/resources/45"],"normalized_date_ssm":["1992-1996"],"normalized_title_ssm":["Olivia Goldsmith Collection, 1992-1996"],"collection_title_tesim":["Olivia Goldsmith Collection, 1992-1996"],"collection_ssim":["Olivia Goldsmith Collection, 1992-1996"],"repository_ssm":["Bienes Museum of the Modern Book: The Dianne and Michael Bienes Special Collections and Rare Book Library"],"repository_ssim":["Bienes Museum of the Modern Book: The Dianne and Michael Bienes Special Collections and Rare Book Library"],"acqinfo_ssim":["The Olivia Goldsmith Collection was donated to the Bienes Museum of the Modern Book by Olivia Goldsmith."],"has_online_content_ssim":["false"],"extent_ssm":["6 Hollinger Boxes"],"extent_tesim":["6 Hollinger Boxes"],"date_range_isim":[1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eThe Olivia Goldsmith Collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The Olivia Goldsmith Collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe Olivia Goldsmith Collection contains seven series. Series I. Bestseller, Series II. Fashionably Late, Series III. First Wives Club, Series IV. Flavor of the Month, Series V. Marrying Mom, Series VI. Simple Isn't Easy and Series VII. Printed Materials.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Olivia Goldsmith Collection contains seven series. Series I. Bestseller, Series II. Fashionably Late, Series III. First Wives Club, Series IV. Flavor of the Month, Series V. Marrying Mom, Series VI. Simple Isn't Easy and Series VII. Printed Materials."],"bioghist_html_tesm":["\u003cp\u003eOlivia Goldsmith was born Randy Goldfield in Dumont, New Jersey on January 1, 1949. Her debut novel, \"The First Wives Club\", was published in 1992 and was made into a film in 1996. Other novels written by Goldsmith including Bestseller, Fashionably Late, Flavor of the month, Marrying Mom, and Simple Isn't Easy. Goldsmith attended New York University where she majored in education. She later worked in buisness marketing and was the first woman to work for the Booz Allen Hamilton Firm. In 1981, she began Omni Consulting which she sold in 1984. After selling the firm, she began to focus on writing. She wrote several books for children published under the name Justine Rendal. In 1992, the First Wives Club was published under the pseudonym Olivia Goldsmith. Goldsmith continued to use this name for other books she published. On January 15, 2004, Olivia Goldmith died as a result of complications from the administration of anaesthesia before an elective surgery. Her final two books were published posthumously.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Olivia Goldsmith was born Randy Goldfield in Dumont, New Jersey on January 1, 1949. Her debut novel, \"The First Wives Club\", was published in 1992 and was made into a film in 1996. Other novels written by Goldsmith including Bestseller, Fashionably Late, Flavor of the month, Marrying Mom, and Simple Isn't Easy. Goldsmith attended New York University where she majored in education. She later worked in buisness marketing and was the first woman to work for the Booz Allen Hamilton Firm. In 1981, she began Omni Consulting which she sold in 1984. After selling the firm, she began to focus on writing. She wrote several books for children published under the name Justine Rendal. In 1992, the First Wives Club was published under the pseudonym Olivia Goldsmith. Goldsmith continued to use this name for other books she published. On January 15, 2004, Olivia Goldmith died as a result of complications from the administration of anaesthesia before an elective surgery. Her final two books were published posthumously."],"prefercite_html_tesm":["\u003cp\u003eOlivia Goldsmith Collection, Bienes Museum of the Modern Book, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["Olivia Goldsmith Collection, Bienes Museum of the Modern Book, Broward County Library."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://digitalarchives.broward.org/digital/collection/p16146coll33\" target=\"_blank\"\u003eView a selection of digitized materials from the Olivia Goldsmith Collection in the Broward County Library Digital Archives.\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Digital Materials"],"relatedmaterial_tesim":["View a selection of digitized materials from the Olivia Goldsmith Collection in the Broward County Library Digital Archives."],"scopecontent_html_tesm":["\u003cp\u003eThe Olivia Goldsmith Collection contains manuscripts, books, notes and correspondence by author Olivia Goldsmith (1949-2004). Manuscripts and drafts included are Bestseller, Fashionably Late, Flavor of the Month, Marrying Mom and Simple Isn't Easy\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Olivia Goldsmith Collection contains manuscripts, books, notes and correspondence by author Olivia Goldsmith (1949-2004). Manuscripts and drafts included are Bestseller, Fashionably Late, Flavor of the Month, Marrying Mom and Simple Isn't Easy"],"names_ssim":["Bienes Museum of the Modern Book: The Dianne and Michael Bienes Special Collections and Rare Book Library"],"corpname_ssim":["Bienes Museum of the Modern Book: The Dianne and Michael Bienes Special Collections and Rare Book Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":48,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"f91f4bfd564812a99cc9e3aa","timestamp":"2026-04-21T01:43:53.143Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/f91f4bfd564812a99cc9e3aa_aspace_85adbbe089ebe30beb6ea749e1247cbf"}},{"id":"1ac4ca82cbf9f71c689e9408_aspace_156916","type":"Series","attributes":{"title":"Fashion Drawings","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1ac4ca82cbf9f71c689e9408_aspace_156916#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_156916","ref_ssm":["aspace_156916","aspace_156916"],"id":"1ac4ca82cbf9f71c689e9408_aspace_156916","title_filing_ssi":"Fashion Drawings","title_ssm":["Fashion Drawings"],"title_tesim":["Fashion Drawings"],"normalized_title_ssm":["Fashion Drawings"],"text":["Fashion Drawings","Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Digital Dreams","Digital Dreams: Art","Series 3","/repositories/2/archival_objects/8537"],"component_level_isim":[3],"parent_ids_ssim":["1ac4ca82cbf9f71c689e9408","1ac4ca82cbf9f71c689e9408_aspace_156854","1ac4ca82cbf9f71c689e9408_aspace_156855"],"parent_unittitles_ssm":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Digital Dreams","Digital Dreams: Art"],"parent_unittitles_tesim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Digital Dreams","Digital Dreams: Art"],"parent_levels_ssm":["collection","Box","Item"],"unitid_ssm":["Series 3","/repositories/2/archival_objects/8537"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"has_online_content_ssim":["false"],"child_component_count_isi":6,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":62,"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"_nest_path_":"/components#0/components#0/components#2","_nest_parent_":"1ac4ca82cbf9f71c689e9408_aspace_156855","_root_":"1ac4ca82cbf9f71c689e9408","timestamp":"2026-07-10T04:34:20.107Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1ac4ca82cbf9f71c689e9408","title_ssm":["Randy Jones Digital Dreams"],"title_tesim":["Randy Jones Digital Dreams"],"ead_ssi":"1ac4ca82cbf9f71c689e9408","unitdate_ssm":["2013-2017","2017","Date acquired: 00/00/2017"],"unitdate_bulk_ssim":["2017"],"unitdate_inclusive_ssm":["2013-2017"],"unitdate_other_ssim":["Date acquired: 00/00/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2017-03","/repositories/2/resources/46"],"text":["MS-2017-03","/repositories/2/resources/46","Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Photography -- Digital techniques","Poetry","Gay culture","Gay men's writings, American","Artists","These items are bound collections maintained in the original arrangment.","Randy Jones was born and grew up in Columbus, Ohio, and has been making art all of his life. After receiving a B.F.A. from the Columbus College of Art \u0026 Design, Jones worked for a number of years as an advertising artist. As a fine artist, he chaired and organized \"A Digital Salon\" in Columbus, participated in the Collectors Gallery at the Columbus Museum of Art, NewCAT in Cleveland, an art auction, several private galleries, a card shop, and four solo exhibits in a library. He participated in several galleries locally in Ohio, and his work was shown by Eovia Inc at the Apple Computer Expo in Paris, France. After many years developing his own digital art style on a Macintosh computer and coming up with a name for himself (Digital Dream Studios), Jones is currently seeking the best market for his work--whether through continued gallery representation or publishing. He has been a digital artist for twenty three years.","Note written by Randy Jones","published","processed","This collection consists of a digital art portfolio and poetry collection by Randy Jones. Additional artist information can be found in the abstract and artist's statement portions of this finding aid.","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 digital artwork and poetry from artist Randy Jones, who provides the following statement about the work featured in the Digital Dreams collection:\n\t\"My digital paintings reflect what I respond to. There is joy in the arrangement and design elements and colors within a composition. And there is beauty of varied shape and form. Familiar, comfortable objects like fruit or books express the fragility of the moment, but also becomes something eternal and timeless frozen forever in the picture. \"Durability,\" \"immortality.\" And symbolism. Things I respond to--all objects have significance. Personal and profound symbols. The more we look, the more we see. Most importantly we see that transient beauty can become transformed consciously and subconsciously. It is awareness of response: what do objects on a shelf become for us? Symbols, memories, expressions, feelings. Together with the highest level of my ability the still-life objects in my paintings make my work meaningful. Most of all, my work is therapy for me and an essential part of my recovery.\n\tWhoever you may be reading my poems and viewing my pictures I want to thank you, and I hope you will be pleased and find something worth learning and considering. Much of this new art was created when my life partner, Wilbur T., was diagnosed with lung cancer, ultimately passing away in February of this year after a lengthy nursing center stay. My work covers a range of topics: love, loss, art, memories and finally, hope. Perhaps, you too may find a bit of yourself here.\"","USF Libraries - Tampa Special Collections","Jones, Randy","English"],"unitid_tesim":["MS-2017-03","/repositories/2/resources/46"],"normalized_date_ssm":["2013-2017, Date acquired: 00/00/2017, bulk 2017"],"normalized_title_ssm":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"collection_title_tesim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"collection_ssim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Jones, Randy"],"creator_ssim":["Jones, Randy"],"creator_persname_ssim":["Jones, Randy"],"creators_ssim":["Jones, Randy"],"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":["Randy Jones","Donation."],"access_subjects_ssim":["Photography -- Digital techniques","Poetry","Gay culture","Gay men's writings, American","Artists"],"access_subjects_ssm":["Photography -- Digital techniques","Poetry","Gay culture","Gay men's writings, American","Artists"],"has_online_content_ssim":["false"],"extent_ssm":["0.21 Linear Feet","1 boxes"],"extent_tesim":["0.21 Linear Feet","1 boxes"],"date_range_isim":[2013,2014,2015,2016,2017],"arrangement_html_tesm":["\u003cp\u003eThese items are bound collections maintained in the original arrangment.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["These items are bound collections maintained in the original arrangment."],"bioghist_html_tesm":["\u003cp\u003eRandy Jones was born and grew up in Columbus, Ohio, and has been making art all of his life. After receiving a B.F.A. from the Columbus College of Art \u0026amp; Design, Jones worked for a number of years as an advertising artist. As a fine artist, he chaired and organized \"A Digital Salon\" in Columbus, participated in the Collectors Gallery at the Columbus Museum of Art, NewCAT in Cleveland, an art auction, several private galleries, a card shop, and four solo exhibits in a library. He participated in several galleries locally in Ohio, and his work was shown by Eovia Inc at the Apple Computer Expo in Paris, France. After many years developing his own digital art style on a Macintosh computer and coming up with a name for himself (Digital Dream Studios), Jones is currently seeking the best market for his work--whether through continued gallery representation or publishing. He has been a digital artist for twenty three years.\u003c/p\u003e\n","\u003cp\u003eNote written by Randy Jones\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Randy Jones was born and grew up in Columbus, Ohio, and has been making art all of his life. After receiving a B.F.A. from the Columbus College of Art \u0026 Design, Jones worked for a number of years as an advertising artist. As a fine artist, he chaired and organized \"A Digital Salon\" in Columbus, participated in the Collectors Gallery at the Columbus Museum of Art, NewCAT in Cleveland, an art auction, several private galleries, a card shop, and four solo exhibits in a library. He participated in several galleries locally in Ohio, and his work was shown by Eovia Inc at the Apple Computer Expo in Paris, France. After many years developing his own digital art style on a Macintosh computer and coming up with a name for himself (Digital Dream Studios), Jones is currently seeking the best market for his work--whether through continued gallery representation or publishing. He has been a digital artist for twenty three years.","Note written by Randy Jones"],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"processinfo_html_tesm":["\u003cp\u003eprocessed\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["processed"],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of a digital art portfolio and poetry collection by Randy Jones. Additional artist information can be found in the abstract and artist's statement portions of this finding aid.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of a digital art portfolio and poetry collection by Randy Jones. Additional artist information can be found in the abstract and artist's statement portions of this finding aid."],"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_afb433d2040bf3f2d68e9fd799b1a54f\" label=\"Abstract\"\u003eThis collection consists of digital artwork and poetry from artist Randy Jones, who provides the following statement about the work featured in the Digital Dreams collection:\n\t\"My digital paintings reflect what I respond to. There is joy in the arrangement and design elements and colors within a composition. And there is beauty of varied shape and form. Familiar, comfortable objects like fruit or books express the fragility of the moment, but also becomes something eternal and timeless frozen forever in the picture. \"Durability,\" \"immortality.\" And symbolism. Things I respond to--all objects have significance. Personal and profound symbols. The more we look, the more we see. Most importantly we see that transient beauty can become transformed consciously and subconsciously. It is awareness of response: what do objects on a shelf become for us? Symbols, memories, expressions, feelings. Together with the highest level of my ability the still-life objects in my paintings make my work meaningful. Most of all, my work is therapy for me and an essential part of my recovery.\n\tWhoever you may be reading my poems and viewing my pictures I want to thank you, and I hope you will be pleased and find something worth learning and considering. Much of this new art was created when my life partner, Wilbur T., was diagnosed with lung cancer, ultimately passing away in February of this year after a lengthy nursing center stay. My work covers a range of topics: love, loss, art, memories and finally, hope. Perhaps, you too may find a bit of yourself here.\"\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of digital artwork and poetry from artist Randy Jones, who provides the following statement about the work featured in the Digital Dreams collection:\n\t\"My digital paintings reflect what I respond to. There is joy in the arrangement and design elements and colors within a composition. And there is beauty of varied shape and form. Familiar, comfortable objects like fruit or books express the fragility of the moment, but also becomes something eternal and timeless frozen forever in the picture. \"Durability,\" \"immortality.\" And symbolism. Things I respond to--all objects have significance. Personal and profound symbols. The more we look, the more we see. Most importantly we see that transient beauty can become transformed consciously and subconsciously. It is awareness of response: what do objects on a shelf become for us? Symbols, memories, expressions, feelings. Together with the highest level of my ability the still-life objects in my paintings make my work meaningful. Most of all, my work is therapy for me and an essential part of my recovery.\n\tWhoever you may be reading my poems and viewing my pictures I want to thank you, and I hope you will be pleased and find something worth learning and considering. Much of this new art was created when my life partner, Wilbur T., was diagnosed with lung cancer, ultimately passing away in February of this year after a lengthy nursing center stay. My work covers a range of topics: love, loss, art, memories and finally, hope. Perhaps, you too may find a bit of yourself here.\""],"names_ssim":["USF Libraries - Tampa Special Collections","Jones, Randy"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Jones, Randy"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":157,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"1ac4ca82cbf9f71c689e9408","timestamp":"2026-07-10T04:34:20.107Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1ac4ca82cbf9f71c689e9408_aspace_156916"}},{"id":"edfdc548ca396b57df094271_aspace_135479","type":"Series","attributes":{"title":"Fashion Portraits","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/edfdc548ca396b57df094271_aspace_135479#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_135479","ref_ssm":["aspace_135479","aspace_135479"],"id":"edfdc548ca396b57df094271_aspace_135479","title_filing_ssi":"Fashion Portraits","title_ssm":["Fashion Portraits"],"title_tesim":["Fashion Portraits"],"normalized_title_ssm":["Fashion Portraits"],"text":["Fashion Portraits","Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989","Series 12","/repositories/2/archival_objects/54863"],"component_level_isim":[1],"parent_ids_ssim":["edfdc548ca396b57df094271"],"parent_unittitles_ssm":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"parent_unittitles_tesim":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 12","/repositories/2/archival_objects/54863"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":24,"parent_access_terms_tesm":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/for more information."],"_nest_path_":"/components#11","_nest_parent_":"edfdc548ca396b57df094271","_root_":"edfdc548ca396b57df094271","_version_":1870862858498080768,"timestamp":"2026-07-16T09:24:17.667Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"edfdc548ca396b57df094271","title_ssm":["Neidlinger occasion card collection"],"title_tesim":["Neidlinger occasion card collection"],"ead_ssi":"edfdc548ca396b57df094271","unitdate_ssm":["1900-1926","Date acquired: 06/00/1989"],"unitdate_inclusive_ssm":["1900-1926"],"unitdate_other_ssim":["Date acquired: 06/00/1989"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS.1989.01","/repositories/2/resources/344"],"text":["MS.1989.01","/repositories/2/resources/344","Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989","Greeting cards.","Filed by occasion.","Between 1900 and 1926, the Neidlinger family of Evanston, Illinois, received and collected numerous greeting cards, including colorful lithographic post cards.","The 1,000 card collection from the Neidlinger family primarily consists of chromolithographic post cards for the Christmas, Easter, Valentine's Day, and New Year's holidays. It also contains Halloween cards, St. Patrick's Day cards, seasonal greeting cards, get-well cards, birthday cards, invitations, magazine ads, and portraits. All post cards are from the time period between 1905-1915.","None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information.","USF Libraries - Tampa Special Collections","Neidlinger Family","English"],"unitid_tesim":["MS.1989.01","/repositories/2/resources/344"],"normalized_date_ssm":["1900-1926, Date acquired: 06/00/1989"],"normalized_title_ssm":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"collection_title_tesim":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"collection_ssim":["Neidlinger occasion card collection, 1900-1926, Date acquired: 06/00/1989"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Neidlinger Family"],"creator_ssim":["Neidlinger Family"],"creator_famname_ssim":["Neidlinger Family"],"creators_ssim":["Neidlinger Family"],"access_terms_ssm":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information."],"acqinfo_ssim":["Eleanor Neidlinger, through her niece, Dr. Daphne Rosenzweig","Donation"],"access_subjects_ssim":["Greeting cards."],"access_subjects_ssm":["Greeting cards."],"has_online_content_ssim":["false"],"extent_ssm":["2.86 Linear Feet","6 boxes"],"extent_tesim":["2.86 Linear Feet","6 boxes"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926],"arrangement_html_tesm":["\u003cp\u003eFiled by occasion.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Filed by occasion."],"bioghist_html_tesm":["\u003cp\u003eBetween 1900 and 1926, the Neidlinger family of Evanston, Illinois, received and collected numerous greeting cards, including colorful lithographic post cards.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Between 1900 and 1926, the Neidlinger family of Evanston, Illinois, received and collected numerous greeting cards, including colorful lithographic post cards."],"prefercite_html_tesm":["\u003cp\u003eNeidlinger occasion card collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Neidlinger occasion card collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe 1,000 card collection from the Neidlinger family primarily consists of chromolithographic post cards for the Christmas, Easter, Valentine's Day, and New Year's holidays. It also contains Halloween cards, St. Patrick's Day cards, seasonal greeting cards, get-well cards, birthday cards, invitations, magazine ads, and portraits. All post cards are from the time period between 1905-1915.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The 1,000 card collection from the Neidlinger family primarily consists of chromolithographic post cards for the Christmas, Easter, Valentine's Day, and New Year's holidays. It also contains Halloween cards, St. Patrick's Day cards, seasonal greeting cards, get-well cards, birthday cards, invitations, magazine ads, and portraits. All post cards are from the time period between 1905-1915."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of this collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/%C2%A0\"\u003ehttp://www.copyright.gov/\u003c/extref\u003efor more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information."],"names_ssim":["USF Libraries - Tampa Special Collections","Neidlinger Family"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"famname_ssim":["Neidlinger Family"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":29,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870862858498080768,"_root_":"edfdc548ca396b57df094271","timestamp":"2026-07-16T09:24:17.667Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/edfdc548ca396b57df094271_aspace_135479"}},{"id":"55e5b54954a15e9dd44f260d_aspace_86076","type":"Series","attributes":{"title":"FAU","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/55e5b54954a15e9dd44f260d_aspace_86076#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_86076","ref_ssm":["aspace_86076","aspace_86076"],"id":"55e5b54954a15e9dd44f260d_aspace_86076","title_filing_ssi":"FAU","title_ssm":["FAU"],"title_tesim":["FAU"],"normalized_title_ssm":["FAU"],"text":["FAU","Dr. John O'Sullivan Faculty Papers, 1831-1999, bulk 1940-1980","Series 7","/repositories/2/archival_objects/4649"],"component_level_isim":[1],"parent_ids_ssim":["55e5b54954a15e9dd44f260d"],"parent_unittitles_ssm":["Dr. John O'Sullivan Faculty Papers, 1831-1999, bulk 1940-1980"],"parent_unittitles_tesim":["Dr. John O'Sullivan Faculty Papers, 1831-1999, bulk 1940-1980"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 7","/repositories/2/archival_objects/4649"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["Dr. John O'Sullivan Faculty Papers, 1831-1999, bulk 1940-1980"],"has_online_content_ssim":["false"],"child_component_count_isi":5,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1195,"parent_access_restrict_tesm":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"parent_access_terms_tesm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"_nest_path_":"/components#6","_nest_parent_":"55e5b54954a15e9dd44f260d","_root_":"55e5b54954a15e9dd44f260d","timestamp":"2026-07-09T02:02:44.466Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"55e5b54954a15e9dd44f260d","title_ssm":["Dr. John O'Sullivan Faculty Papers"],"title_tesim":["Dr. John O'Sullivan Faculty Papers"],"ead_ssi":"55e5b54954a15e9dd44f260d","unitdate_ssm":["1831-1999","1940-1980"],"unitdate_bulk_ssim":["1940-1980"],"unitdate_inclusive_ssm":["1831-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UAFP0007","/repositories/2/resources/17"],"text":["UAFP0007","/repositories/2/resources/17","Dr. John O'Sullivan Faculty Papers, 1831-1999, bulk 1940-1980","Florida Atlantic University -- History","University Archives","University Archives -- Faculty Papers","Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","John O'Sullivan (1939-2000) was a professor of history at Florida Atlantic University. Dr. O'Sullivan attended Fordham University for his undergraduate studies and then Columbia University where he attained a M.A. and Ph.D. After graduating in 1971, he came to Florida Atlantic University where he served as chair of the History Department (1975-1978) and devoted his entire academic career. Dr. O'Sullivan received numerous research fellowships including the American Philosophical Society, the American Historical Association, and the Sloan Foundation.","His publications include From Volunteerism to Conscription: Congress and the Selective Service, 1940-1945 (1982), The Draft and Its Enemies(1974), American Economic History (1989), We Have Just Begun Not to Fight: An Oral History of Conscientious Objectors in Civilian Public Service During World War II (co-authored with Heather Frazer, 1996) and numerous articles. His areas of specialization were World War II, Vietnam War, Nuclear Age, the Holocaust, Peace History, Oral History and Modern American Political and Diplomatic Affairs.","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections.","Florida Atlantic University Libraries","John O'Sullivan","English"],"unitid_tesim":["UAFP0007","/repositories/2/resources/17"],"normalized_date_ssm":["1831-1999, bulk 1940-1980"],"normalized_title_ssm":["Dr. John O'Sullivan Faculty Papers, 1831-1999, bulk 1940-1980"],"collection_title_tesim":["Dr. John O'Sullivan Faculty Papers, 1831-1999, bulk 1940-1980"],"collection_ssim":["Dr. John O'Sullivan Faculty Papers, 1831-1999, bulk 1940-1980"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"creator_ssm":["John O'Sullivan"],"creator_ssim":["John O'Sullivan"],"creator_persname_ssim":["John O'Sullivan"],"creators_ssim":["John O'Sullivan"],"access_terms_ssm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"access_subjects_ssim":["Florida Atlantic University -- History","University Archives","University Archives -- Faculty Papers"],"access_subjects_ssm":["Florida Atlantic University -- History","University Archives","University Archives -- Faculty Papers"],"has_online_content_ssim":["false"],"extent_ssm":["8.30 Linear Feet","51 document boxes; 2 clamshells boxes"],"extent_tesim":["8.30 Linear Feet","51 document boxes; 2 clamshells boxes"],"date_range_isim":[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\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.\u003c/p\u003e\n","\u003cp\u003ePhotocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida."],"scopecontent_html_tesm":["\u003cp\u003eJohn O'Sullivan (1939-2000) was a professor of history at Florida Atlantic University. Dr. O'Sullivan attended Fordham University for his undergraduate studies and then Columbia University where he attained a M.A. and Ph.D. After graduating in 1971, he came to Florida Atlantic University where he served as chair of the History Department (1975-1978) and devoted his entire academic career. Dr. O'Sullivan received numerous research fellowships including the American Philosophical Society, the American Historical Association, and the Sloan Foundation.\u003c/p\u003e\n","\u003cp\u003eHis publications include From Volunteerism to Conscription: Congress and the Selective Service, 1940-1945 (1982), The Draft and Its Enemies(1974), American Economic History (1989), We Have Just Begun Not to Fight: An Oral History of Conscientious Objectors in Civilian Public Service During World War II (co-authored with Heather Frazer, 1996) and numerous articles. His areas of specialization were World War II, Vietnam War, Nuclear Age, the Holocaust, Peace History, Oral History and Modern American Political and Diplomatic Affairs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["John O'Sullivan (1939-2000) was a professor of history at Florida Atlantic University. Dr. O'Sullivan attended Fordham University for his undergraduate studies and then Columbia University where he attained a M.A. and Ph.D. After graduating in 1971, he came to Florida Atlantic University where he served as chair of the History Department (1975-1978) and devoted his entire academic career. 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Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"_nest_path_":"/components#6","_nest_parent_":"2868ee54af3563fe2f0377c1","_root_":"2868ee54af3563fe2f0377c1","_version_":1870842163975159808,"timestamp":"2026-07-16T03:55:21.784Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2868ee54af3563fe2f0377c1","title_ssm":["Dr. Heather T. 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Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. 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