{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=536\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=538\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=856\u0026view=compact"},"meta":{"pages":{"current_page":537,"next_page":538,"prev_page":536,"total_pages":856,"limit_value":10,"offset_value":5360,"total_count":8556,"first_page?":false,"last_page?":false}},"data":[{"id":"f6bf64b3b40806d504e1f1e8_aspace_38240","type":"Series","attributes":{"title":"Papers- Gubernatorial","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f6bf64b3b40806d504e1f1e8_aspace_38240#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_38240","ref_ssm":["aspace_38240","aspace_38240"],"id":"f6bf64b3b40806d504e1f1e8_aspace_38240","title_filing_ssi":"Papers- Gubernatorial","title_ssm":["Papers- Gubernatorial"],"title_tesim":["Papers- Gubernatorial"],"normalized_title_ssm":["Papers- Gubernatorial"],"text":["Papers- Gubernatorial","Spessard Lindsey Holland Papers, 1892-1971","Series 2","/repositories/10/archival_objects/46343"],"component_level_isim":[1],"parent_ids_ssim":["f6bf64b3b40806d504e1f1e8"],"parent_unittitles_ssm":["Spessard Lindsey Holland Papers, 1892-1971"],"parent_unittitles_tesim":["Spessard Lindsey Holland Papers, 1892-1971"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 2","/repositories/10/archival_objects/46343"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Spessard Lindsey Holland Papers, 1892-1971"],"has_online_content_ssim":["false"],"child_component_count_isi":7,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":9,"parent_access_restrict_tesm":["Collection is open to all researchers. Users may access this collection at the Claude Pepper Library."],"parent_access_terms_tesm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"_nest_path_":"/components#1","_nest_parent_":"f6bf64b3b40806d504e1f1e8","_root_":"f6bf64b3b40806d504e1f1e8","_version_":1870858768767516672,"timestamp":"2026-07-16T08:19:17.376Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f6bf64b3b40806d504e1f1e8","title_ssm":["Spessard Lindsey Holland Papers"],"title_tesim":["Spessard Lindsey Holland Papers"],"ead_ssi":"f6bf64b3b40806d504e1f1e8","unitdate_ssm":["1892-1971"],"unitdate_inclusive_ssm":["1892-1971"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 76-5","/repositories/10/resources/409"],"text":["MSS 76-5","/repositories/10/resources/409","Spessard Lindsey Holland Papers, 1892-1971","Everglades National Park (Fla.)","Holland Family--Archives","National rivers","Freemasonry","World War, 1914-1918","Florida--Politics and government","Florida. Governor (1941-1945 : Holland)","Correspondence","Legal documents.","Photographs","Speeches, addresses, etc.","Collection is open to all researchers. Users may access this collection at the Claude Pepper Library.","Spessard Lindsey Holland, 28th Governor of Florida (January 1941-January 1945) was born in Bartow, Florida on July 10, 1892, to Benjamin F. and Virginia (Spessard) Holland. He graduated from Emory College (now Emory University) in 1912 and the University of Florida Law School in 1916. Holland served in World War I as a member of the Army Air Corps, and he held the rank of Captain by the end of the war.\n Throughout his professional career, Holland worked as a school teacher, citrus grower, and attorney before entering the political arena. He was elected to State Senate in 1932 and served until his election as governor in 1941. He was appointed to United States Senate in September 1946 and later successfully ran for that office serving a total of four six-year terms.\n Holland died in Bartow on November 6, 1971. A more detailed biography including many of his legislative activities can be found in the biographical materials contained within this collection.","Processed January 1978","The Spessard Lindsey Holland collection consists primarily of the personal correspondence, photographs, campaign materials, individual files, Floridiana, and memorabilia such as various awards and certificates, plaques, and miscellaneous novelty items. The collection has materials dated from the 1890s to the early 1970s with the majority of the collection dated after the 1930s.\n \tBiographical materials on the former Governor and U.S. Senator can be found in this collection as well as various papers and correspondence during his terms in both of these offices. Also included are speeches, tax records, recordings and photographs, presentations, memberships, Holland Family papers and correspondence, as well as over 170 books that belonged to the Hollands.","Select materials from the Holland Papers have been digitized and are available through the  FSU Digital Library .","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","Claude Pepper Library.","FSU Special Collections \u0026 Archives","Air Force Association","Alpha Tau Omega","American Bar Association","American Legion","American Sugar Cane League","Military Order of the World Wars","Orange Bowl Committee","National Geographic Society (U.S.)","Florida Bar","Florida Historical Society","Florida. Governor","National Audubon Society","Phi Beta Kappa","Holland, Spessard L. (Spessard Lindsey) 1892-1971","Holland, Spessard L. (Spessard Lindsey), 1892-1971","Butler, James Turner, 1882-1969","Chiles, Lawton, 1930-1998","McRae, William A., Jr., 1909-1973","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","English"],"unitid_tesim":["MSS 76-5","/repositories/10/resources/409"],"normalized_date_ssm":["1892-1971"],"normalized_title_ssm":["Spessard Lindsey Holland Papers, 1892-1971"],"collection_title_tesim":["Spessard Lindsey Holland Papers, 1892-1971"],"collection_ssim":["Spessard Lindsey Holland Papers, 1892-1971"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"geogname_ssm":["Everglades National Park (Fla.)"],"geogname_ssim":["Everglades National Park (Fla.)"],"creator_ssm":["Holland, Spessard L. (Spessard Lindsey) 1892-1971"],"creator_ssim":["Holland, Spessard L. (Spessard Lindsey) 1892-1971"],"creator_persname_ssim":["Holland, Spessard L. (Spessard Lindsey) 1892-1971"],"creators_ssim":["Holland, Spessard L. (Spessard Lindsey) 1892-1971"],"places_ssim":["Everglades National Park (Fla.)"],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["Gift of the Holland Family"],"access_subjects_ssim":["Holland Family--Archives","National rivers","Freemasonry","World War, 1914-1918","Florida--Politics and government","Florida. Governor (1941-1945 : Holland)","Correspondence","Legal documents.","Photographs","Speeches, addresses, etc."],"access_subjects_ssm":["Holland Family--Archives","National rivers","Freemasonry","World War, 1914-1918","Florida--Politics and government","Florida. Governor (1941-1945 : Holland)","Correspondence","Legal documents.","Photographs","Speeches, addresses, etc."],"has_online_content_ssim":["false"],"extent_ssm":["47 boxes","23.1875 Linear Feet (54 containers)"],"extent_tesim":["47 boxes","23.1875 Linear Feet (54 containers)"],"genreform_ssim":["Correspondence","Legal documents.","Photographs","Speeches, addresses, etc."],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Users may access this collection at the Claude Pepper Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Users may access this collection at the Claude Pepper Library."],"bioghist_html_tesm":["\u003cp\u003eSpessard Lindsey Holland, 28th Governor of Florida (January 1941-January 1945) was born in Bartow, Florida on July 10, 1892, to Benjamin F. and Virginia (Spessard) Holland. He graduated from Emory College (now Emory University) in 1912 and the University of Florida Law School in 1916. Holland served in World War I as a member of the Army Air Corps, and he held the rank of Captain by the end of the war.\n\u003cbr\u003e\u003cbr\u003eThroughout his professional career, Holland worked as a school teacher, citrus grower, and attorney before entering the political arena. He was elected to State Senate in 1932 and served until his election as governor in 1941. He was appointed to United States Senate in September 1946 and later successfully ran for that office serving a total of four six-year terms.\n\u003cbr\u003e\u003cbr\u003eHolland died in Bartow on November 6, 1971. A more detailed biography including many of his legislative activities can be found in the biographical materials contained within this collection.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Spessard Lindsey Holland, 28th Governor of Florida (January 1941-January 1945) was born in Bartow, Florida on July 10, 1892, to Benjamin F. and Virginia (Spessard) Holland. He graduated from Emory College (now Emory University) in 1912 and the University of Florida Law School in 1916. Holland served in World War I as a member of the Army Air Corps, and he held the rank of Captain by the end of the war.\n Throughout his professional career, Holland worked as a school teacher, citrus grower, and attorney before entering the political arena. He was elected to State Senate in 1932 and served until his election as governor in 1941. He was appointed to United States Senate in September 1946 and later successfully ran for that office serving a total of four six-year terms.\n Holland died in Bartow on November 6, 1971. A more detailed biography including many of his legislative activities can be found in the biographical materials contained within this collection."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], Spessard Lindsey Holland Papers, The Claude Pepper Library, Florida State University Libraries, Tallahassee, Florida.\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], Spessard Lindsey Holland Papers, The Claude Pepper Library, Florida State University Libraries, Tallahassee, Florida."],"processinfo_html_tesm":["\u003cp\u003eProcessed January 1978\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed January 1978"],"scopecontent_html_tesm":["\u003cp\u003eThe Spessard Lindsey Holland collection consists primarily of the personal correspondence, photographs, campaign materials, individual files, Floridiana, and memorabilia such as various awards and certificates, plaques, and miscellaneous novelty items. The collection has materials dated from the 1890s to the early 1970s with the majority of the collection dated after the 1930s.\n\u003cbr\u003e\u003cbr\u003e\tBiographical materials on the former Governor and U.S. Senator can be found in this collection as well as various papers and correspondence during his terms in both of these offices. Also included are speeches, tax records, recordings and photographs, presentations, memberships, Holland Family papers and correspondence, as well as over 170 books that belonged to the Hollands.\u003c/p\u003e","\u003cp\u003eSelect materials from the Holland Papers have been digitized and are available through the \u003cextref href=\"https://diginole.lib.fsu.edu/islandora/object/fsu:spessardlindseyhollandpapers\"\u003eFSU Digital Library\u003c/extref\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Online Copies Available"],"scopecontent_tesim":["The Spessard Lindsey Holland collection consists primarily of the personal correspondence, photographs, campaign materials, individual files, Floridiana, and memorabilia such as various awards and certificates, plaques, and miscellaneous novelty items. The collection has materials dated from the 1890s to the early 1970s with the majority of the collection dated after the 1930s.\n \tBiographical materials on the former Governor and U.S. Senator can be found in this collection as well as various papers and correspondence during his terms in both of these offices. Also included are speeches, tax records, recordings and photographs, presentations, memberships, Holland Family papers and correspondence, as well as over 170 books that belonged to the Hollands.","Select materials from the Holland Papers have been digitized and are available through the  FSU Digital Library ."],"userestrict_html_tesm":["\u003cp\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026amp; Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_72f388e800102079ce39bb1a40399051\"\u003eClaude Pepper Library.\u003c/physloc\u003e"],"physloc_tesim":["Claude Pepper Library."],"names_coll_ssim":["Air Force Association","Alpha Tau Omega","American Bar Association","American Legion","American Sugar Cane League","Military Order of the World Wars","Orange Bowl Committee","National Geographic Society (U.S.)","Florida Bar","Florida Historical Society","Florida. Governor","National Audubon Society","Phi Beta Kappa","Holland, Spessard L. (Spessard Lindsey), 1892-1971","Butler, James Turner, 1882-1969","Chiles, Lawton, 1930-1998","McRae, William A., Jr., 1909-1973","Roosevelt, Franklin D. (Franklin Delano), 1882-1945"],"names_ssim":["FSU Special Collections \u0026 Archives","Air Force Association","Alpha Tau Omega","American Bar Association","American Legion","American Sugar Cane League","Military Order of the World Wars","Orange Bowl Committee","National Geographic Society (U.S.)","Florida Bar","Florida Historical Society","Florida. Governor","National Audubon Society","Phi Beta Kappa","Holland, Spessard L. (Spessard Lindsey) 1892-1971","Holland, Spessard L. (Spessard Lindsey), 1892-1971","Butler, James Turner, 1882-1969","Chiles, Lawton, 1930-1998","McRae, William A., Jr., 1909-1973","Roosevelt, Franklin D. (Franklin Delano), 1882-1945"],"corpname_ssim":["FSU Special Collections \u0026 Archives","Air Force Association","Alpha Tau Omega","American Bar Association","American Legion","American Sugar Cane League","Military Order of the World Wars","Orange Bowl Committee","National Geographic Society (U.S.)","Florida Bar","Florida Historical Society","Florida. Governor","National Audubon Society","Phi Beta Kappa"],"persname_ssim":["Holland, Spessard L. (Spessard Lindsey) 1892-1971","Holland, Spessard L. (Spessard Lindsey), 1892-1971","Butler, James Turner, 1882-1969","Chiles, Lawton, 1930-1998","McRae, William A., Jr., 1909-1973","Roosevelt, Franklin D. (Franklin Delano), 1882-1945"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":574,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870858768767516672,"_root_":"f6bf64b3b40806d504e1f1e8","timestamp":"2026-07-16T08:19:17.376Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/f6bf64b3b40806d504e1f1e8_aspace_38240"}},{"id":"8444b6038f267e52515349a3_aspace_22659","type":"Series","attributes":{"title":"Papers, Work Scholarship Papers, circa 1938-1940","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/8444b6038f267e52515349a3_aspace_22659#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_22659","ref_ssm":["aspace_22659","aspace_22659"],"id":"8444b6038f267e52515349a3_aspace_22659","title_filing_ssi":"Papers, Work Scholarship Papers","title_ssm":["Papers, Work Scholarship Papers"],"title_tesim":["Papers, Work Scholarship Papers"],"unitdate_other_ssim":["circa 1938-1940"],"normalized_date_ssm":["circa 1938-1940"],"normalized_title_ssm":["Papers, Work Scholarship Papers, circa 1938-1940"],"text":["Papers, Work Scholarship Papers, circa 1938-1940","Carrie Forehand Crocker Collection, 1931-1947, bulk 1938-1942","1","/repositories/10/archival_objects/155180","box 1"],"component_level_isim":[1],"parent_ids_ssim":["8444b6038f267e52515349a3"],"parent_unittitles_ssm":["Carrie Forehand Crocker Collection, 1931-1947, bulk 1938-1942"],"parent_unittitles_tesim":["Carrie Forehand Crocker Collection, 1931-1947, bulk 1938-1942"],"parent_levels_ssm":["collection"],"unitid_ssm":["1","/repositories/10/archival_objects/155180"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Carrie Forehand Crocker Collection, 1931-1947, bulk 1938-1942"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"parent_access_terms_tesm":["To request permission to quote, publish, broadcast or otherwise reproduce from the archives, please contact Heritage \u0026 University Archives, Florida State University Libraries, Tallahassee, Florida. Researchers must obtain separate permission from the copyright holders of material held within University Archives collections for which the institution does not hold copyright."],"containers_ssim":["box 1"],"_nest_path_":"/components#0","_nest_parent_":"8444b6038f267e52515349a3","_root_":"8444b6038f267e52515349a3","timestamp":"2026-07-08T04:03:22.510Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"8444b6038f267e52515349a3","title_ssm":["Carrie Forehand Crocker Collection"],"title_tesim":["Carrie Forehand Crocker Collection"],"ead_ssi":"8444b6038f267e52515349a3","unitdate_ssm":["1931-1947","1938-1942"],"unitdate_bulk_ssim":["1938-1942"],"unitdate_inclusive_ssm":["1931-1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["HP 2007-025","/repositories/10/resources/1219"],"text":["HP 2007-025","/repositories/10/resources/1219","Carrie Forehand Crocker Collection, 1931-1947, bulk 1938-1942","Distaff, The","Thanksgiving dinner","Commencement Programs","Commencement Announcements","Investiture ceremony","Class of 1942","Schedule of Classes","Pamphlets","Official Correspondence","Organizational Correspondence","Dining Room Scholarships","Work Scholarships","Scholarships.","Student clubs and organizations","Florida State University. Department of Dance","Odd Team (Sports Team)","Even Team Memorabilia","Honors Day","Convocation","Dining Room Girls","San Carlo Opera Company","Graduation announcement name cards","Concerts.","Schedules, School","Student publications","Programs","Identification Cards","Universities and colleges--Curricula--Catalogs.","Invitation cards.","Student handbooks","Paper.","Periodicals.","Menus.","Clippings (Books, newspapers, etc.)","Postcards.","Student schedule cards","Name tags","Newspapers","Scrapbooks","This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Entered 2008-01-31.","Personal items of Florida State College for Women student Carrie Forehand Crocker (formerly Carrie Lee Crocker) (BA, Home Economics, 1942). Items include papers and memorabilia related to her participation in student organizations, the Dining Room Girls, and assorted student related activities. (See box list.)","To request permission to quote, publish, broadcast or otherwise reproduce from the archives, please contact Heritage \u0026 University Archives, Florida State University Libraries, Tallahassee, Florida. Researchers must obtain separate permission from the copyright holders of material held within University Archives collections for which the institution does not hold copyright.","FSU Special Collections \u0026 Archives","Florida State College for Women. Alumnae Association","Omicron Nu Society","Florida Flambeau","Florida State University. Artist Series","Even Team (Sports Team)","Phi Kappa Phi","Sigma Delta Pi","Florida State University Libraries. Heritage Protocol \u0026 University Archives","Florida State College for Women","Florida State College for Women--Sports","Scholarship and Loan Committee","Crocker, Carrie Forehand","Andrews, Elizabeth Gordon, 1880-1967","Forehand, Carrie Lee","Maxwell, Sarah","Rushing, Sarah Grace","English"],"unitid_tesim":["HP 2007-025","/repositories/10/resources/1219"],"normalized_date_ssm":["1931-1947, bulk 1938-1942"],"normalized_title_ssm":["Carrie Forehand Crocker Collection, 1931-1947, bulk 1938-1942"],"collection_title_tesim":["Carrie Forehand Crocker Collection, 1931-1947, bulk 1938-1942"],"collection_ssim":["Carrie Forehand Crocker Collection, 1931-1947, bulk 1938-1942"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"creator_ssm":["Crocker, Carrie Forehand"],"creator_ssim":["Crocker, Carrie Forehand"],"creator_persname_ssim":["Crocker, Carrie Forehand"],"creators_ssim":["Crocker, Carrie Forehand"],"access_terms_ssm":["To request permission to quote, publish, broadcast or otherwise reproduce from the archives, please contact Heritage \u0026 University Archives, Florida State University Libraries, Tallahassee, Florida. Researchers must obtain separate permission from the copyright holders of material held within University Archives collections for which the institution does not hold copyright."],"acqinfo_ssim":["Carrie Forehand Crocker","Donated to Heritage Protocol through Mary Lou Norwood."],"access_subjects_ssim":["Distaff, The","Thanksgiving dinner","Commencement Programs","Commencement Announcements","Investiture ceremony","Class of 1942","Schedule of Classes","Pamphlets","Official Correspondence","Organizational Correspondence","Dining Room Scholarships","Work Scholarships","Scholarships.","Student clubs and organizations","Florida State University. Department of Dance","Odd Team (Sports Team)","Even Team Memorabilia","Honors Day","Convocation","Dining Room Girls","San Carlo Opera Company","Graduation announcement name cards","Concerts.","Schedules, School","Student publications","Programs","Identification Cards","Universities and colleges--Curricula--Catalogs.","Invitation cards.","Student handbooks","Paper.","Periodicals.","Menus.","Clippings (Books, newspapers, etc.)","Postcards.","Student schedule cards","Name tags","Newspapers","Scrapbooks"],"access_subjects_ssm":["Distaff, The","Thanksgiving dinner","Commencement Programs","Commencement Announcements","Investiture ceremony","Class of 1942","Schedule of Classes","Pamphlets","Official Correspondence","Organizational Correspondence","Dining Room Scholarships","Work Scholarships","Scholarships.","Student clubs and organizations","Florida State University. Department of Dance","Odd Team (Sports Team)","Even Team Memorabilia","Honors Day","Convocation","Dining Room Girls","San Carlo Opera Company","Graduation announcement name cards","Concerts.","Schedules, School","Student publications","Programs","Identification Cards","Universities and colleges--Curricula--Catalogs.","Invitation cards.","Student handbooks","Paper.","Periodicals.","Menus.","Clippings (Books, newspapers, etc.)","Postcards.","Student schedule cards","Name tags","Newspapers","Scrapbooks"],"has_online_content_ssim":["false"],"extent_ssm":["62.00 items"],"extent_tesim":["62.00 items"],"genreform_ssim":["Student publications","Programs","Identification Cards","Universities and colleges--Curricula--Catalogs.","Invitation cards.","Student handbooks","Paper.","Periodicals.","Menus.","Clippings (Books, newspapers, etc.)","Postcards.","Student schedule cards","Name tags","Newspapers","Scrapbooks"],"date_range_isim":[1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"prefercite_html_tesm":["\u003cp\u003eCarrie Forehand Crocker Collection, Heritage Protocol, Florida State University, Tallahassee, Florida. https://purl.lib.fsu.edu/fa/HP-2007-025\u003c/p\u003e"],"prefercite_tesim":["Carrie Forehand Crocker Collection, Heritage Protocol, Florida State University, Tallahassee, Florida. https://purl.lib.fsu.edu/fa/HP-2007-025"],"processinfo_html_tesm":["\u003cp\u003eEntered 2008-01-31.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Entered 2008-01-31."],"scopecontent_html_tesm":["\u003cp\u003ePersonal items of Florida State College for Women student Carrie Forehand Crocker (formerly Carrie Lee Crocker) (BA, Home Economics, 1942). Items include papers and memorabilia related to her participation in student organizations, the Dining Room Girls, and assorted student related activities. (See box list.)\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Personal items of Florida State College for Women student Carrie Forehand Crocker (formerly Carrie Lee Crocker) (BA, Home Economics, 1942). Items include papers and memorabilia related to her participation in student organizations, the Dining Room Girls, and assorted student related activities. (See box list.)"],"userestrict_html_tesm":["\u003cp\u003eTo request permission to quote, publish, broadcast or otherwise reproduce from the archives, please contact Heritage \u0026amp; University Archives, Florida State University Libraries, Tallahassee, Florida. Researchers must obtain separate permission from the copyright holders of material held within University Archives collections for which the institution does not hold copyright.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["To request permission to quote, publish, broadcast or otherwise reproduce from the archives, please contact Heritage \u0026 University Archives, Florida State University Libraries, Tallahassee, Florida. Researchers must obtain separate permission from the copyright holders of material held within University Archives collections for which the institution does not hold copyright."],"names_coll_ssim":["Florida State College for Women. Alumnae Association","Omicron Nu Society","Florida Flambeau","Florida State University. Artist Series","Even Team (Sports Team)","Phi Kappa Phi","Sigma Delta Pi","Florida State University Libraries. Heritage Protocol \u0026 University Archives","Florida State College for Women","Florida State College for Women--Sports","Scholarship and Loan Committee","Andrews, Elizabeth Gordon, 1880-1967","Crocker, Carrie Forehand","Forehand, Carrie Lee","Maxwell, Sarah","Rushing, Sarah Grace"],"names_ssim":["FSU Special Collections \u0026 Archives","Florida State College for Women. Alumnae Association","Omicron Nu Society","Florida Flambeau","Florida State University. Artist Series","Even Team (Sports Team)","Phi Kappa Phi","Sigma Delta Pi","Florida State University Libraries. Heritage Protocol \u0026 University Archives","Florida State College for Women","Florida State College for Women--Sports","Scholarship and Loan Committee","Crocker, Carrie Forehand","Andrews, Elizabeth Gordon, 1880-1967","Forehand, Carrie Lee","Maxwell, Sarah","Rushing, Sarah Grace"],"corpname_ssim":["FSU Special Collections \u0026 Archives","Florida State College for Women. Alumnae Association","Omicron Nu Society","Florida Flambeau","Florida State University. Artist Series","Even Team (Sports Team)","Phi Kappa Phi","Sigma Delta Pi","Florida State University Libraries. Heritage Protocol \u0026 University Archives","Florida State College for Women","Florida State College for Women--Sports","Scholarship and Loan Committee"],"persname_ssim":["Crocker, Carrie Forehand","Andrews, Elizabeth Gordon, 1880-1967","Forehand, Carrie Lee","Maxwell, Sarah","Rushing, Sarah Grace"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":70,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"8444b6038f267e52515349a3","timestamp":"2026-07-08T04:03:22.510Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/8444b6038f267e52515349a3_aspace_22659"}},{"id":"731b674a396f199a6d388d63_aspace_a1ad760e80d2ee57a06bf72b2dda5fe3","type":"Series","attributes":{"title":"Parade America","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/731b674a396f199a6d388d63_aspace_a1ad760e80d2ee57a06bf72b2dda5fe3#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_a1ad760e80d2ee57a06bf72b2dda5fe3","ref_ssm":["aspace_a1ad760e80d2ee57a06bf72b2dda5fe3","aspace_a1ad760e80d2ee57a06bf72b2dda5fe3"],"id":"731b674a396f199a6d388d63_aspace_a1ad760e80d2ee57a06bf72b2dda5fe3","title_filing_ssi":"Parade America","title_ssm":["Parade America"],"title_tesim":["Parade America"],"normalized_title_ssm":["Parade America"],"text":["Parade America","Congressman James A. Haley Collection, 1948-1977","U.S. Congressional Papers","/repositories/2/archival_objects/28534","box 243"],"component_level_isim":[2],"parent_ids_ssim":["731b674a396f199a6d388d63","731b674a396f199a6d388d63_aspace_5741d34efd25f269c0c7a777de774a22"],"parent_unittitles_ssm":["Congressman James A. Haley Collection, 1948-1977","U.S. Congressional Papers"],"parent_unittitles_tesim":["Congressman James A. Haley Collection, 1948-1977","U.S. Congressional Papers"],"parent_levels_ssm":["collection","Subgroup"],"unitid_ssm":["/repositories/2/archival_objects/28534"],"repository_ssim":["The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections"],"collection_ssim":["Congressman James A. Haley Collection, 1948-1977"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":3061,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to\nunprocessed born digital materials."],"parent_access_terms_tesm":["The Congressman James A. Haley Papers are owned by Florida Southern College. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by\nthe copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Please inquire if you have questions -\narchives@flsouthern.edu. ","Constituent Correspondence files are restricted from publication until 2052"],"containers_ssim":["box 243"],"_nest_path_":"/components#4/components#393","_nest_parent_":"731b674a396f199a6d388d63_aspace_5741d34efd25f269c0c7a777de774a22","_root_":"731b674a396f199a6d388d63","_version_":1875924461057736704,"timestamp":"2026-09-10T06:16:17.977Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"731b674a396f199a6d388d63","title_ssm":["Congressman James A. Haley Collection"],"title_tesim":["Congressman James A. Haley Collection"],"ead_ssi":"731b674a396f199a6d388d63","unitdate_ssm":["1948-1977"],"unitdate_inclusive_ssm":["1948-1977"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS1040","/repositories/2/resources/17"],"text":["MS1040","/repositories/2/resources/17","Congressman James A. Haley Collection, 1948-1977","Washington D.C.","Florida--Politics","Lakeland and Polk County Politics","United States. Congress","House of Representatives--Florida--State Legislature","Circus--management","Correspondence","Clippings","Speeches","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to\nunprocessed born digital materials.","The materials in this collection were maintained by the subject's staff by issue and date. With some modifications allowing for clarity, they have been arranged in a similar fashion. However, you will find that individual issues may appear under multiple subject headings. For example, \"Watergate\" may\nappear under its own heading as well as under \"Richard Nixon\" or \"Nixon Administration.\" Please note that even though the files are arranged by issue, some correspondence might also be located in \"catch-all\" categories such as \"Haley Bills: Master File: 83rd Congress: 1953-1954,\"\n\"Correspondence: 19XX,\" to use but two examples.","James A. Haley, as chairman of the House Interior Committee during the 1970s, was instrumental in the creation of Big Cypress National Preserve. Franklin Adams lobbied for the establishment of the Big Cypress National Preserve along with many other environmental issues. The Franklin Adams Papers are housed at Florida International University. The Franklin Adams Collection, SPC9000, at Florida International University, Miami. ","James Andrew Haley (January 4, 1899 – August 6, 1981) was a U.S. Representative from Florida. Born in Jacksonville, Alabama, Haley attended the public schools and the University of Alabama. He served in the U.S. Army during World War I, and saw combat in France. He was an accountant in Sarasota, Florida, from 1920 to 1933 and served as general manager of the John Ringling estate from 1933 to 1943.\nOn December 4, 1942, Haley married Aubrey Ringling (née Aubrey Barlow Black), the widow of Richard T. Ringling who had died in 1931. Richard Ringling was the son of one of the original Ringling brothers. From 1943 to 1945, he was the first vice president of Ringling Circus and president and\ndirector of Ringling Brothers, Barnum \u0026 Bailey. In 1944, a fire broke out at a Ringling Circus show in Hartford, Connecticut that killed 169 persons. As a result of the fire he and five other circus officials pleaded no contest to charges of involuntary manslaughter and were sentenced to prison. He served\neight months and in 1945 was returned to Florida, where he received a pardon from Governor Millard F. Caldwell. Upon his release from prison, Haley again served as president and director for the Ringling Bros. and Barnum and Bailey Circus of Sarasota from 1946 to 1948. He engaged in newspaper publishing and\nlater in general printing business. He served as chairman of the Democratic Executive Committee of Sarasota County 1935–1952. He was elected and served as member of the Florida House of Representatives from 1949 to 1952. He was a delegate to the Democratic National Conventions in 1952, 1956, and 1960.\nHaley was elected as a Democrat to the Eighty-third and to the eleven succeeding Congresses (January 3, 1953 – January 3, 1977). He was a member of the Committee on Interior and Insular Affairs, the Hospital Subcommittee of the Veterans Affair Committee, and the Indian Affairs Subcommittee. He served as chairman of the Committee on Interior and Insular Affairs (Ninety-third\nand Ninety-fourth Congresses). Haley was not a candidate for reelection to the Ninety-fifth Congress in 1976.","Haley died in Sarasota on August 6, 1981 and was interred in Boca Raton Cemetery in Boca Raton,FL. The James A. Haley Veterans Hospital located in Tampa is named for him. ","Sources: U.S. House of Representatives Official Biography and Haley Papers biographical data, 2018","The James A. Haley Papers consist of his personal and political papers. Correspondence, clippings, newsletters, photographs, congressional reports, and awards from various civic and political organizations give insight into Haley's public interests. Photographs of his wife, the Circus and political\naffiliates uncover the many facets of Haley's life. A limited amount of biographical information, including news articles about his death, reflect on how this public figure kept his private life private. Of note is the\nseries about the Hartford Circus fire. ","The Papers are arranged in five collections: Personal, Hartford Circus Fire, Political, Florida House of Representatives, and U.S. Congressional.","The Personal papers, arranged alphabetically by format, consists of calendars, correspondence, newsletters, photographs, awards and other ephemera giving a broad look into Haley's life in and out of office. A limited amount of biographical information, including news articles about his death, is included.","Haley Papers\nCorrespondence, newsletters, and awards from various civic and political organizations show the range of Haley's public interests while the invitations he accepted give a sense of the social life of a congressman in the 1950s-1970s. Congratulatory messages may give insight into who he counted\namong his political allies. The correspondence in this series, 1940-1981, the bulk of which are letters from Haley's time in the U.S. House of Representative (1953-1976) is of a general nature and may not be of a specific topic, but often must still be viewed as official. Since Haley was a public figure, the materials in this series should be viewed in the context that public figures kept their private life private.","The ephemera is mostly three-dimensional objects from Haley's office. The photographs within this series are also generally of an official nature. They are arranged by subject. Of particular note are the\nphotographs of Haley with several U.S. Presidents. Please see a digital exhibit at\nhttp://www.flsouthern.edu/library/mckay-archives/digital-exhibits/haley-presidents.aspx.","The Hartford Circus Fire collection encompasses documentation of the burning of a tent at the Ringling Bros. and Barnum \u0026 Baily Circus in Hartford, Connecticut on July 6, 1944, the loss of 150 lives, and the resulting trial. As first vice president of the Company, James A. Haley took responsibility, was found\nguilty of manslaughter, and served time in a federal prison. The documentation is comprised of, but not limited to, correspondence, news clippings, financial documents and court records. Correspondence takes the form of letters and telegrams with topics between Haley and staff and Haley and lawyers about what happened in the fire and with the trial. There are also letters to Haley while he is in jail, mostly regarding his personal health and welfare. There are extensive newspaper clippings about the fire and the trial. Corporate information includes circus routes, minutes and by-laws. The financial documents are extensive and record the financial standing of the circus, while Court Records consist of trial scripts, pleas, and scripts from the parole hearing. Anyone searching for general understanding of the events of the fire should look at the newspapers, and then the letters and telegrams.","The Political Papers collection concerns Haley's campaigns and party work. As a member of the U.S. House of Representatives, Haley was up for reelection every two years. The Campaign Files sub-series contains correspondence, government records, news articles, and other documents related to the subject's political campaigns between 1952 and 1974. Of special interest are the endorsements which how where and from whom he received his political support from.","The Democratic Party sub-collection reflects the subject's involvement with his political party. He served as a delegate to several Democratic National Conventions over the course of his career. He also took an interest in other political races throughout Florida and the nation. This series contains correspondence and newspaper articles concerning elections not specific to the subject, as well as general party information for candidates and booklets produced for the conventions.","The Florida House of Representatives collection encompass Haley's career as the State Representative for Sarasota County in the Florida House of Representatives. Haley held this office from 1948-1952. The materials are arranged in as logical order as possible. There was no discernable order prior to processing as the materials had been housed and rehoused several times since they were donated to the college. Of special note are the materials related to the Haley Committee Investigating Crime, which investigated political corruption and organized crime in the state. The collection also includes materials concerning state issues of the day, as well as issues specific to Sarasota County. Additionally, there are reference materials used by the subject in the performance of his duties. The Haley Committee on Investigating Crime sub-series contains transcripts of hearings, proceedings,\ncorrespondence, and news articles related to this committee, while the Issues sub-series is arranged Haley Papers\nalphabetically and contains correspondence, legislation, news articles, and reference material related to the respective issue. The Reference sub-series contain Florida House and Senate Bill Summaries, Legislative calendars, House and Senate Journals, and roll call votes. And, the Sarasota District subseries contain correspondence, reference materials, and news articles related specifically to that district.","The U.S. Congressional Papers, the largest collection, comprise the political aspects of Haley's US congressional career. The materials are arranged in alphabetical order created by his office. Haley held a seat representing the southwest coast and heartland of Florida from 1953-1977. The materials in this\nseries contain correspondence, articles, government documents, and photographs; they cover nearly every major issue to confront the United States during the 1950s through the 1970s. Of special note is the constituent correspondence, which are letters from citizens to Haley asking for information or help on a variety of topics. Letters and telegrams sent to Haley by citizens in his district give a sense of the\nviews of the general public concerning the issues of the era. Haley's views are expressed in his replies. The materials are arranged alphabetically by issue and date. This arrangement closely corresponds to how they were filed in the subject's office. Please note that even though the files are arranged by issue, some correspondence might also be located in \"catch-all\" categories such as \"Haley Bills: Master File: 83rd Congress: 1953-1954,\"\n\"Correspondence: 19XX,\" to use but two examples. ","The Congressman James A. Haley Papers are owned by Florida Southern College. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by\nthe copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Please inquire if you have questions -\narchives@flsouthern.edu. ","Constituent Correspondence files are restricted from publication until 2052","The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections","Haley, James A., Congressman ","English"],"unitid_tesim":["MS1040","/repositories/2/resources/17"],"normalized_date_ssm":["1948-1977"],"normalized_title_ssm":["Congressman James A. Haley Collection, 1948-1977"],"collection_title_tesim":["Congressman James A. Haley Collection, 1948-1977"],"collection_ssim":["Congressman James A. Haley Collection, 1948-1977"],"repository_ssm":["The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections"],"repository_ssim":["The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections"],"geogname_ssm":["Washington D.C."],"geogname_ssim":["Washington D.C."],"creator_ssm":["Haley, James A., Congressman "],"creator_ssim":["Haley, James A., Congressman "],"creator_persname_ssim":["Haley, James A., Congressman "],"creators_ssim":["Haley, James A., Congressman "],"places_ssim":["Washington D.C."],"access_terms_ssm":["The Congressman James A. Haley Papers are owned by Florida Southern College. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by\nthe copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Please inquire if you have questions -\narchives@flsouthern.edu. ","Constituent Correspondence files are restricted from publication until 2052"],"access_subjects_ssim":["Florida--Politics","Lakeland and Polk County Politics","United States. Congress","House of Representatives--Florida--State Legislature","Circus--management","Correspondence","Clippings","Speeches"],"access_subjects_ssm":["Florida--Politics","Lakeland and Polk County Politics","United States. Congress","House of Representatives--Florida--State Legislature","Circus--management","Correspondence","Clippings","Speeches"],"has_online_content_ssim":["false"],"extent_ssm":["150 Linear Feet"],"extent_tesim":["150 Linear Feet"],"genreform_ssim":["Correspondence","Clippings","Speeches"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to\nunprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to\nunprocessed born digital materials."],"arrangement_html_tesm":["\u003cp\u003eThe materials in this collection were maintained by the subject's staff by issue and date. With some modifications allowing for clarity, they have been arranged in a similar fashion. However, you will find that individual issues may appear under multiple subject headings. For example, \"Watergate\" may\nappear under its own heading as well as under \"Richard Nixon\" or \"Nixon Administration.\" Please note that even though the files are arranged by issue, some correspondence might also be located in \"catch-all\" categories such as \"Haley Bills: Master File: 83rd Congress: 1953-1954,\"\n\"Correspondence: 19XX,\" to use but two examples.\u003c/p\u003e\n","\u003cp\u003eJames A. Haley, as chairman of the House Interior Committee during the 1970s, was instrumental in the creation of Big Cypress National Preserve. Franklin Adams lobbied for the establishment of the Big Cypress National Preserve along with many other environmental issues. The Franklin Adams Papers are housed at Florida International University. The Franklin Adams Collection, SPC9000, at Florida International University, Miami. \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The materials in this collection were maintained by the subject's staff by issue and date. With some modifications allowing for clarity, they have been arranged in a similar fashion. However, you will find that individual issues may appear under multiple subject headings. For example, \"Watergate\" may\nappear under its own heading as well as under \"Richard Nixon\" or \"Nixon Administration.\" Please note that even though the files are arranged by issue, some correspondence might also be located in \"catch-all\" categories such as \"Haley Bills: Master File: 83rd Congress: 1953-1954,\"\n\"Correspondence: 19XX,\" to use but two examples.","James A. Haley, as chairman of the House Interior Committee during the 1970s, was instrumental in the creation of Big Cypress National Preserve. Franklin Adams lobbied for the establishment of the Big Cypress National Preserve along with many other environmental issues. The Franklin Adams Papers are housed at Florida International University. The Franklin Adams Collection, SPC9000, at Florida International University, Miami. "],"bioghist_html_tesm":["\u003cp\u003eJames Andrew Haley (January 4, 1899 \u0026#x2013; August 6, 1981) was a U.S. Representative from Florida. Born in Jacksonville, Alabama, Haley attended the public schools and the University of Alabama. He served in the U.S. Army during World War I, and saw combat in France. He was an accountant in Sarasota, Florida, from 1920 to 1933 and served as general manager of the John Ringling estate from 1933 to 1943.\nOn December 4, 1942, Haley married Aubrey Ringling (n\u0026#xE9;e Aubrey Barlow Black), the widow of Richard T. Ringling who had died in 1931. Richard Ringling was the son of one of the original Ringling brothers. From 1943 to 1945, he was the first vice president of Ringling Circus and president and\ndirector of Ringling Brothers, Barnum \u0026amp; Bailey. In 1944, a fire broke out at a Ringling Circus show in Hartford, Connecticut that killed 169 persons. As a result of the fire he and five other circus officials pleaded no contest to charges of involuntary manslaughter and were sentenced to prison. He served\neight months and in 1945 was returned to Florida, where he received a pardon from Governor Millard F. Caldwell. Upon his release from prison, Haley again served as president and director for the Ringling Bros. and Barnum and Bailey Circus of Sarasota from 1946 to 1948. He engaged in newspaper publishing and\nlater in general printing business. He served as chairman of the Democratic Executive Committee of Sarasota County 1935\u0026#x2013;1952. He was elected and served as member of the Florida House of Representatives from 1949 to 1952. He was a delegate to the Democratic National Conventions in 1952, 1956, and 1960.\nHaley was elected as a Democrat to the Eighty-third and to the eleven succeeding Congresses (January 3, 1953 \u0026#x2013; January 3, 1977). He was a member of the Committee on Interior and Insular Affairs, the Hospital Subcommittee of the Veterans Affair Committee, and the Indian Affairs Subcommittee. He served as chairman of the Committee on Interior and Insular Affairs (Ninety-third\nand Ninety-fourth Congresses). Haley was not a candidate for reelection to the Ninety-fifth Congress in 1976.\u003c/p\u003e\n","\u003cp\u003eHaley died in Sarasota on August 6, 1981 and was interred in Boca Raton Cemetery in Boca Raton,FL. The James A. Haley Veterans Hospital located in Tampa is named for him. \u003c/p\u003e\n","\u003cp\u003eSources: U.S. House of Representatives Official Biography and Haley Papers biographical data, 2018\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["James Andrew Haley (January 4, 1899 – August 6, 1981) was a U.S. Representative from Florida. Born in Jacksonville, Alabama, Haley attended the public schools and the University of Alabama. He served in the U.S. Army during World War I, and saw combat in France. He was an accountant in Sarasota, Florida, from 1920 to 1933 and served as general manager of the John Ringling estate from 1933 to 1943.\nOn December 4, 1942, Haley married Aubrey Ringling (née Aubrey Barlow Black), the widow of Richard T. Ringling who had died in 1931. Richard Ringling was the son of one of the original Ringling brothers. From 1943 to 1945, he was the first vice president of Ringling Circus and president and\ndirector of Ringling Brothers, Barnum \u0026 Bailey. In 1944, a fire broke out at a Ringling Circus show in Hartford, Connecticut that killed 169 persons. As a result of the fire he and five other circus officials pleaded no contest to charges of involuntary manslaughter and were sentenced to prison. He served\neight months and in 1945 was returned to Florida, where he received a pardon from Governor Millard F. Caldwell. Upon his release from prison, Haley again served as president and director for the Ringling Bros. and Barnum and Bailey Circus of Sarasota from 1946 to 1948. He engaged in newspaper publishing and\nlater in general printing business. He served as chairman of the Democratic Executive Committee of Sarasota County 1935–1952. He was elected and served as member of the Florida House of Representatives from 1949 to 1952. He was a delegate to the Democratic National Conventions in 1952, 1956, and 1960.\nHaley was elected as a Democrat to the Eighty-third and to the eleven succeeding Congresses (January 3, 1953 – January 3, 1977). He was a member of the Committee on Interior and Insular Affairs, the Hospital Subcommittee of the Veterans Affair Committee, and the Indian Affairs Subcommittee. He served as chairman of the Committee on Interior and Insular Affairs (Ninety-third\nand Ninety-fourth Congresses). Haley was not a candidate for reelection to the Ninety-fifth Congress in 1976.","Haley died in Sarasota on August 6, 1981 and was interred in Boca Raton Cemetery in Boca Raton,FL. The James A. Haley Veterans Hospital located in Tampa is named for him. ","Sources: U.S. House of Representatives Official Biography and Haley Papers biographical data, 2018"],"scopecontent_html_tesm":["\u003cp\u003eThe James A. Haley Papers consist of his personal and political papers. Correspondence, clippings, newsletters, photographs, congressional reports, and awards from various civic and political organizations give insight into Haley's public interests. Photographs of his wife, the Circus and political\naffiliates uncover the many facets of Haley's life. A limited amount of biographical information, including news articles about his death, reflect on how this public figure kept his private life private. Of note is the\nseries about the Hartford Circus fire. \u003c/p\u003e\n","\u003cp\u003eThe Papers are arranged in five collections: Personal, Hartford Circus Fire, Political, Florida House of Representatives, and U.S. Congressional.\u003c/p\u003e\n","\u003cp\u003eThe Personal papers, arranged alphabetically by format, consists of calendars, correspondence, newsletters, photographs, awards and other ephemera giving a broad look into Haley's life in and out of office. A limited amount of biographical information, including news articles about his death, is included.\u003c/p\u003e\n","\u003cp\u003eHaley Papers\nCorrespondence, newsletters, and awards from various civic and political organizations show the range of Haley's public interests while the invitations he accepted give a sense of the social life of a congressman in the 1950s-1970s. Congratulatory messages may give insight into who he counted\namong his political allies. The correspondence in this series, 1940-1981, the bulk of which are letters from Haley's time in the U.S. House of Representative (1953-1976) is of a general nature and may not be of a specific topic, but often must still be viewed as official. Since Haley was a public figure, the materials in this series should be viewed in the context that public figures kept their private life private.\u003c/p\u003e\n","\u003cp\u003eThe ephemera is mostly three-dimensional objects from Haley's office. The photographs within this series are also generally of an official nature. They are arranged by subject. Of particular note are the\nphotographs of Haley with several U.S. Presidents. Please see a digital exhibit at\nhttp://www.flsouthern.edu/library/mckay-archives/digital-exhibits/haley-presidents.aspx.\u003c/p\u003e\n","\u003cp\u003eThe Hartford Circus Fire collection encompasses documentation of the burning of a tent at the Ringling Bros. and Barnum \u0026amp; Baily Circus in Hartford, Connecticut on July 6, 1944, the loss of 150 lives, and the resulting trial. As first vice president of the Company, James A. Haley took responsibility, was found\nguilty of manslaughter, and served time in a federal prison. The documentation is comprised of, but not limited to, correspondence, news clippings, financial documents and court records. Correspondence takes the form of letters and telegrams with topics between Haley and staff and Haley and lawyers about what happened in the fire and with the trial. There are also letters to Haley while he is in jail, mostly regarding his personal health and welfare. There are extensive newspaper clippings about the fire and the trial. Corporate information includes circus routes, minutes and by-laws. The financial documents are extensive and record the financial standing of the circus, while Court Records consist of trial scripts, pleas, and scripts from the parole hearing. Anyone searching for general understanding of the events of the fire should look at the newspapers, and then the letters and telegrams.\u003c/p\u003e\n","\u003cp\u003eThe Political Papers collection concerns Haley's campaigns and party work. As a member of the U.S. House of Representatives, Haley was up for reelection every two years. The Campaign Files sub-series contains correspondence, government records, news articles, and other documents related to the subject's political campaigns between 1952 and 1974. Of special interest are the endorsements which how where and from whom he received his political support from.\u003c/p\u003e\n","\u003cp\u003eThe Democratic Party sub-collection reflects the subject's involvement with his political party. He served as a delegate to several Democratic National Conventions over the course of his career. He also took an interest in other political races throughout Florida and the nation. This series contains correspondence and newspaper articles concerning elections not specific to the subject, as well as general party information for candidates and booklets produced for the conventions.\u003c/p\u003e\n","\u003cp\u003eThe Florida House of Representatives collection encompass Haley's career as the State Representative for Sarasota County in the Florida House of Representatives. Haley held this office from 1948-1952. The materials are arranged in as logical order as possible. There was no discernable order prior to processing as the materials had been housed and rehoused several times since they were donated to the college. Of special note are the materials related to the Haley Committee Investigating Crime, which investigated political corruption and organized crime in the state. The collection also includes materials concerning state issues of the day, as well as issues specific to Sarasota County. Additionally, there are reference materials used by the subject in the performance of his duties. The Haley Committee on Investigating Crime sub-series contains transcripts of hearings, proceedings,\ncorrespondence, and news articles related to this committee, while the Issues sub-series is arranged Haley Papers\nalphabetically and contains correspondence, legislation, news articles, and reference material related to the respective issue. The Reference sub-series contain Florida House and Senate Bill Summaries, Legislative calendars, House and Senate Journals, and roll call votes. And, the Sarasota District subseries contain correspondence, reference materials, and news articles related specifically to that district.\u003c/p\u003e\n","\u003cp\u003eThe U.S. Congressional Papers, the largest collection, comprise the political aspects of Haley's US congressional career. The materials are arranged in alphabetical order created by his office. Haley held a seat representing the southwest coast and heartland of Florida from 1953-1977. The materials in this\nseries contain correspondence, articles, government documents, and photographs; they cover nearly every major issue to confront the United States during the 1950s through the 1970s. Of special note is the constituent correspondence, which are letters from citizens to Haley asking for information or help on a variety of topics. Letters and telegrams sent to Haley by citizens in his district give a sense of the\nviews of the general public concerning the issues of the era. Haley's views are expressed in his replies. The materials are arranged alphabetically by issue and date. This arrangement closely corresponds to how they were filed in the subject's office. Please note that even though the files are arranged by issue, some correspondence might also be located in \"catch-all\" categories such as \"Haley Bills: Master File: 83rd Congress: 1953-1954,\"\n\"Correspondence: 19XX,\" to use but two examples. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The James A. Haley Papers consist of his personal and political papers. Correspondence, clippings, newsletters, photographs, congressional reports, and awards from various civic and political organizations give insight into Haley's public interests. Photographs of his wife, the Circus and political\naffiliates uncover the many facets of Haley's life. A limited amount of biographical information, including news articles about his death, reflect on how this public figure kept his private life private. Of note is the\nseries about the Hartford Circus fire. ","The Papers are arranged in five collections: Personal, Hartford Circus Fire, Political, Florida House of Representatives, and U.S. Congressional.","The Personal papers, arranged alphabetically by format, consists of calendars, correspondence, newsletters, photographs, awards and other ephemera giving a broad look into Haley's life in and out of office. A limited amount of biographical information, including news articles about his death, is included.","Haley Papers\nCorrespondence, newsletters, and awards from various civic and political organizations show the range of Haley's public interests while the invitations he accepted give a sense of the social life of a congressman in the 1950s-1970s. Congratulatory messages may give insight into who he counted\namong his political allies. The correspondence in this series, 1940-1981, the bulk of which are letters from Haley's time in the U.S. House of Representative (1953-1976) is of a general nature and may not be of a specific topic, but often must still be viewed as official. Since Haley was a public figure, the materials in this series should be viewed in the context that public figures kept their private life private.","The ephemera is mostly three-dimensional objects from Haley's office. The photographs within this series are also generally of an official nature. They are arranged by subject. Of particular note are the\nphotographs of Haley with several U.S. Presidents. Please see a digital exhibit at\nhttp://www.flsouthern.edu/library/mckay-archives/digital-exhibits/haley-presidents.aspx.","The Hartford Circus Fire collection encompasses documentation of the burning of a tent at the Ringling Bros. and Barnum \u0026 Baily Circus in Hartford, Connecticut on July 6, 1944, the loss of 150 lives, and the resulting trial. As first vice president of the Company, James A. Haley took responsibility, was found\nguilty of manslaughter, and served time in a federal prison. The documentation is comprised of, but not limited to, correspondence, news clippings, financial documents and court records. Correspondence takes the form of letters and telegrams with topics between Haley and staff and Haley and lawyers about what happened in the fire and with the trial. There are also letters to Haley while he is in jail, mostly regarding his personal health and welfare. There are extensive newspaper clippings about the fire and the trial. Corporate information includes circus routes, minutes and by-laws. The financial documents are extensive and record the financial standing of the circus, while Court Records consist of trial scripts, pleas, and scripts from the parole hearing. Anyone searching for general understanding of the events of the fire should look at the newspapers, and then the letters and telegrams.","The Political Papers collection concerns Haley's campaigns and party work. As a member of the U.S. House of Representatives, Haley was up for reelection every two years. The Campaign Files sub-series contains correspondence, government records, news articles, and other documents related to the subject's political campaigns between 1952 and 1974. Of special interest are the endorsements which how where and from whom he received his political support from.","The Democratic Party sub-collection reflects the subject's involvement with his political party. He served as a delegate to several Democratic National Conventions over the course of his career. He also took an interest in other political races throughout Florida and the nation. This series contains correspondence and newspaper articles concerning elections not specific to the subject, as well as general party information for candidates and booklets produced for the conventions.","The Florida House of Representatives collection encompass Haley's career as the State Representative for Sarasota County in the Florida House of Representatives. Haley held this office from 1948-1952. The materials are arranged in as logical order as possible. There was no discernable order prior to processing as the materials had been housed and rehoused several times since they were donated to the college. Of special note are the materials related to the Haley Committee Investigating Crime, which investigated political corruption and organized crime in the state. The collection also includes materials concerning state issues of the day, as well as issues specific to Sarasota County. Additionally, there are reference materials used by the subject in the performance of his duties. The Haley Committee on Investigating Crime sub-series contains transcripts of hearings, proceedings,\ncorrespondence, and news articles related to this committee, while the Issues sub-series is arranged Haley Papers\nalphabetically and contains correspondence, legislation, news articles, and reference material related to the respective issue. The Reference sub-series contain Florida House and Senate Bill Summaries, Legislative calendars, House and Senate Journals, and roll call votes. And, the Sarasota District subseries contain correspondence, reference materials, and news articles related specifically to that district.","The U.S. Congressional Papers, the largest collection, comprise the political aspects of Haley's US congressional career. The materials are arranged in alphabetical order created by his office. Haley held a seat representing the southwest coast and heartland of Florida from 1953-1977. The materials in this\nseries contain correspondence, articles, government documents, and photographs; they cover nearly every major issue to confront the United States during the 1950s through the 1970s. Of special note is the constituent correspondence, which are letters from citizens to Haley asking for information or help on a variety of topics. Letters and telegrams sent to Haley by citizens in his district give a sense of the\nviews of the general public concerning the issues of the era. Haley's views are expressed in his replies. The materials are arranged alphabetically by issue and date. This arrangement closely corresponds to how they were filed in the subject's office. Please note that even though the files are arranged by issue, some correspondence might also be located in \"catch-all\" categories such as \"Haley Bills: Master File: 83rd Congress: 1953-1954,\"\n\"Correspondence: 19XX,\" to use but two examples. "],"userestrict_html_tesm":["\u003cp\u003eThe Congressman James A. Haley Papers are owned by Florida Southern College. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by\nthe copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Please inquire if you have questions -\narchives@flsouthern.edu. \u003c/p\u003e\n","\u003cp\u003eConstituent Correspondence files are restricted from publication until 2052\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Congressman James A. Haley Papers are owned by Florida Southern College. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by\nthe copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Please inquire if you have questions -\narchives@flsouthern.edu. ","Constituent Correspondence files are restricted from publication until 2052"],"names_ssim":["The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections","Haley, James A., Congressman "],"corpname_ssim":["The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections"],"persname_ssim":["Haley, James A., Congressman "],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":4376,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1875924461057736704,"_root_":"731b674a396f199a6d388d63","timestamp":"2026-09-10T06:16:17.977Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/731b674a396f199a6d388d63_aspace_a1ad760e80d2ee57a06bf72b2dda5fe3"}},{"id":"18ce43a3c782b797db9fa781_aspace_178199","type":"Series","attributes":{"title":"Parade - Main St. - Hartford, Connecticut","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178199#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_178199","ref_ssm":["aspace_178199","aspace_178199"],"id":"18ce43a3c782b797db9fa781_aspace_178199","title_filing_ssi":"Parade - Main St. - Hartford, Connecticut","title_ssm":["Parade - Main St. - Hartford, Connecticut"],"title_tesim":["Parade - Main St. - Hartford, Connecticut"],"normalized_title_ssm":["Parade - Main St. - Hartford, Connecticut"],"text":["Parade - Main St. - Hartford, Connecticut","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey","Series 2","/repositories/2/archival_objects/81471"],"component_level_isim":[2],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179820"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 2","/repositories/2/archival_objects/81471"],"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":3,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":819,"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#18/components#1","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179820","_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_178199"}},{"id":"18ce43a3c782b797db9fa781_aspace_177911","type":"Series","attributes":{"title":"Parades","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_177911#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_177911","ref_ssm":["aspace_177911","aspace_177911"],"id":"18ce43a3c782b797db9fa781_aspace_177911","title_filing_ssi":"Parades","title_ssm":["Parades"],"title_tesim":["Parades"],"normalized_title_ssm":["Parades"],"text":["Parades","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey","Series 1","/repositories/2/archival_objects/81470"],"component_level_isim":[2],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179820"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 1","/repositories/2/archival_objects/81470"],"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":63,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":755,"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#18/components#0","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179820","_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_177911"}},{"id":"f70dba2e4db85b9be660d412_aspace_167501","type":"Series","attributes":{"title":"Paramount","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f70dba2e4db85b9be660d412_aspace_167501#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_167501","ref_ssm":["aspace_167501","aspace_167501"],"id":"f70dba2e4db85b9be660d412_aspace_167501","title_filing_ssi":"Paramount","title_ssm":["Paramount"],"title_tesim":["Paramount"],"normalized_title_ssm":["Paramount"],"text":["Paramount","Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","Series 12","/repositories/10/archival_objects/62607"],"component_level_isim":[1],"parent_ids_ssim":["f70dba2e4db85b9be660d412"],"parent_unittitles_ssm":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"parent_unittitles_tesim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 12","/repositories/10/archival_objects/62607"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"has_online_content_ssim":["false"],"child_component_count_isi":267,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1236,"parent_access_restrict_tesm":["This collection is open to all researchers. ","Portions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Boxes 2-5 and 8 may be accessed at the Claude Pepper Library."],"parent_access_terms_tesm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"_nest_path_":"/components#11","_nest_parent_":"f70dba2e4db85b9be660d412","_root_":"f70dba2e4db85b9be660d412","timestamp":"2026-04-21T12:50:36.292Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f70dba2e4db85b9be660d412","title_ssm":["Cinema Promotional Materials"],"title_tesim":["Cinema Promotional Materials"],"ead_ssi":"f70dba2e4db85b9be660d412","unitdate_ssm":["1957-1976","Date acquired: 08/01/1976"],"unitdate_inclusive_ssm":["1957-1976"],"unitdate_other_ssim":["Date acquired: 08/01/1976"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 76-18","/repositories/10/resources/599"],"text":["MSS 76-18","/repositories/10/resources/599","Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","Motion pictures--United States--Distribution","Motion picture industry--United States.","Promotional materials","Television advertising -- United States","Radio advertising -- United States","Advertising--Motion pictures","Motion pictures.","This collection is open to all researchers. ","Portions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Boxes 2-5 and 8 may be accessed at the Claude Pepper Library.","The larger studios materials are listed as series with all titles in alphabetical order. The movies of the smaller studios are listed in the miscellaneous series in alphabetical order by movie title. With the titles, what materials (press book, record, tapes) are available are listed.","Processed November, 1977.","This collection contains cinema promotional materials in various formats, including press books, 33 1/3 and 45 records, cassette tapes of radio commercials and video tapes.\n Each press book contains advertising material for the promotion of a particular film such as stories about the stars or production of the movie, actual layouts of various sizes, campaign plans, and related information. In size, the press books vary from a single page or sheet to a booklet of a dozen or more pages. Some contain various enclosures such as pictures and additional ad sheets.\n The records consist of 33 1/3's and 45's which may contain several radio commercials of various lengths.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","FSU Special Collections \u0026 Archives","English"],"unitid_tesim":["MSS 76-18","/repositories/10/resources/599"],"normalized_date_ssm":["1957-1976, Date acquired: 08/01/1976"],"normalized_title_ssm":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"collection_title_tesim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"collection_ssim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["Gift of Mr. Leslie W. Pendleton, District Supervisor, Kent Theatres, Inc.","Received August 1976 through the efforts of Dr. Ungurait."],"access_subjects_ssim":["Motion pictures--United States--Distribution","Motion picture industry--United States.","Promotional materials","Television advertising -- United States","Radio advertising -- United States","Advertising--Motion pictures","Motion pictures."],"access_subjects_ssm":["Motion pictures--United States--Distribution","Motion picture industry--United States.","Promotional materials","Television advertising -- United States","Radio advertising -- United States","Advertising--Motion pictures","Motion pictures."],"has_online_content_ssim":["false"],"extent_ssm":["5521.00 items"],"extent_tesim":["5521.00 items"],"genreform_ssim":["Motion pictures."],"date_range_isim":[1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003ePortions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e\n","\u003cp\u003eBoxes 2-5 and 8 may be accessed at the Claude Pepper Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","Portions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Boxes 2-5 and 8 may be accessed at the Claude Pepper Library."],"arrangement_html_tesm":["\u003cp\u003eThe larger studios materials are listed as series with all titles in alphabetical order. The movies of the smaller studios are listed in the miscellaneous series in alphabetical order by movie title. With the titles, what materials (press book, record, tapes) are available are listed.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The larger studios materials are listed as series with all titles in alphabetical order. The movies of the smaller studios are listed in the miscellaneous series in alphabetical order by movie title. With the titles, what materials (press book, record, tapes) are available are listed."],"prefercite_html_tesm":["\u003cp\u003eCinema Promotional Materials, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-76-18\u003c/p\u003e"],"prefercite_tesim":["Cinema Promotional Materials, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-76-18"],"processinfo_html_tesm":["\u003cp\u003eProcessed November, 1977.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed November, 1977."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains cinema promotional materials in various formats, including press books, 33 1/3 and 45 records, cassette tapes of radio commercials and video tapes.\n\u003cbr\u003e\u003cbr\u003eEach press book contains advertising material for the promotion of a particular film such as stories about the stars or production of the movie, actual layouts of various sizes, campaign plans, and related information. In size, the press books vary from a single page or sheet to a booklet of a dozen or more pages. Some contain various enclosures such as pictures and additional ad sheets.\n\u003cbr\u003e\u003cbr\u003eThe records consist of 33 1/3's and 45's which may contain several radio commercials of various lengths.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains cinema promotional materials in various formats, including press books, 33 1/3 and 45 records, cassette tapes of radio commercials and video tapes.\n Each press book contains advertising material for the promotion of a particular film such as stories about the stars or production of the movie, actual layouts of various sizes, campaign plans, and related information. In size, the press books vary from a single page or sheet to a booklet of a dozen or more pages. Some contain various enclosures such as pictures and additional ad sheets.\n The records consist of 33 1/3's and 45's which may contain several radio commercials of various lengths."],"userestrict_html_tesm":["\u003cp\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026amp; Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"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":2853,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"f70dba2e4db85b9be660d412","timestamp":"2026-04-21T12:50:36.292Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/f70dba2e4db85b9be660d412_aspace_167501"}},{"id":"b0a7b3450ffbab4fc57cfd81_aspace_93be5648a9b44302b42e01f91d25e368","type":"Series","attributes":{"title":"Parents and Teachers Association Papers, 1938-1974","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/b0a7b3450ffbab4fc57cfd81_aspace_93be5648a9b44302b42e01f91d25e368#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eContains papers assembled by the PTA's historian documenting the school's history throughout the academic year, such as the scrapbooks (or \"Historian Year Book\").\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/b0a7b3450ffbab4fc57cfd81_aspace_93be5648a9b44302b42e01f91d25e368#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_93be5648a9b44302b42e01f91d25e368","ref_ssm":["aspace_93be5648a9b44302b42e01f91d25e368","aspace_93be5648a9b44302b42e01f91d25e368"],"id":"b0a7b3450ffbab4fc57cfd81_aspace_93be5648a9b44302b42e01f91d25e368","title_filing_ssi":"Parents and Teachers Association Papers","title_ssm":["Parents and Teachers Association Papers"],"title_tesim":["Parents and Teachers Association Papers"],"unitdate_inclusive_ssm":["1938-1974"],"normalized_date_ssm":["1938-1974"],"normalized_title_ssm":["Parents and Teachers Association Papers, 1938-1974"],"text":["Parents and Teachers Association Papers, 1938-1974","Eastside Elementary School Collection, 1938-1975","/repositories/4/archival_objects/1719","Contains papers assembled by the PTA's historian documenting the school's history throughout the academic year, such as the scrapbooks (or \"Historian Year Book\")."],"component_level_isim":[1],"parent_ids_ssim":["b0a7b3450ffbab4fc57cfd81"],"parent_unittitles_ssm":["Eastside Elementary School Collection, 1938-1975"],"parent_unittitles_tesim":["Eastside Elementary School Collection, 1938-1975"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/4/archival_objects/1719"],"repository_ssim":["Broward County Historical Archives"],"collection_ssim":["Eastside Elementary School Collection, 1938-1975"],"has_online_content_ssim":["false"],"child_component_count_isi":2,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["The Eastside Elementary School Collection is open for research."],"date_range_isim":[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],"scopecontent_html_tesm":["\u003cp\u003eContains papers assembled by the PTA's historian documenting the school's history throughout the academic year, such as the scrapbooks (or \"Historian Year Book\").\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Contains papers assembled by the PTA's historian documenting the school's history throughout the academic year, such as the scrapbooks (or \"Historian Year Book\")."],"_nest_path_":"/components#0","_nest_parent_":"b0a7b3450ffbab4fc57cfd81","_root_":"b0a7b3450ffbab4fc57cfd81","_version_":1870840913334370304,"timestamp":"2026-07-16T03:35:29.129Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"b0a7b3450ffbab4fc57cfd81","title_filing_ssi":"Eastside Elementary School Collection","title_ssm":["Eastside Elementary School Collection"],"title_tesim":["Eastside Elementary School Collection"],"ead_ssi":"b0a7b3450ffbab4fc57cfd81","unitdate_ssm":["1938-1975"],"unitdate_inclusive_ssm":["1938-1975"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["BCHA.1977.15","/repositories/4/resources/64"],"text":["BCHA.1977.15","/repositories/4/resources/64","Eastside Elementary School Collection, 1938-1975","Elementary schools -- Florida -- Broward County","Education -- Research grants","Teachers -- Florida -- Broward County","Children","Photographs","scrapbooks","Photograph albums","Correspondence","Group portraits","The Eastside Elementary School Collection is open for research.","Eastside Elementary School Collection is organized in five series : Series I: Parents and Teachers Association Papers, Series II: Classroom Photograph Albums, Series III: Photographs, Series IV: Postcards, Series V: Audiotapes.","Eastside Elementary School was built in 1938. It was located at 1001 E. Broward Boulevard in Fort Lauderdale, Florida. The school was voted for closure on April 9, 1977. The official last day of school was June 14, 1977. ","The school has known 5 principals: Mrs. Lilian Crenshaw (1938 [1]-1958). She retired in 1958; Mr. Russel W. Rowe (1958-1960); Mrs. Isabel Shertenlieb (1960-1962). She retired in 1962; Mrs. Avis Peters (1962-1965 [2]); and Mr. James H. Henschel (1965-circa 1974 [3]).","Footnotes:\n[1] The Fort Lauderdale Daily News and Evening Sentinel mentions Lillian Crenshaw as principal of Eastside Elementary School in 1938 (December 2, 1938).\n[2] Mrs Peters was still the Principal of Eastside Elementary School in February 1965 (Fort Lauderdale News, February 2, 1965). She then became the Principal at Westwood  Heights Elementary School (Fort Lauderdale News, November 4, 1965). Meanwhile, James Henschel was still a teacher at Lloyd Estates Elementary in April 1965 (Fort Lauderdale News, April 28, 1965). Although it is unclear if Mr Henschel arrived at Eastside Elementary School in 1965 or 1966, it is more likely that he became principal when Mrs Avis left in 1965.  \n[3] Although the latest sources in this collection mention Mr. Henschel as principal in 1971, it is more likely that he stayed until 1974. This year, other sources mention that he opened Tamarac Elementary School as its first Principal (See: https://tamaractalk.com/tamarac-elementary-school-celebrates-their-40th-anniversary-14273 ; https://www.legacy.com/us/obituaries/sunsentinel/name/james-henschel-obituary?id=8387302 ; Fort Lauderdale News, December 12, 1974).","The Eastside Elementary School Collection received file level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","The Eastside Elementary School collection consists of documents related to the history of Eastside Elementary School in Fort Lauderdale, Florida. The collection contains scrapbooks (also called the \"Historian Year Book\"), updated by the Parents and Teachers Association historian, classroom photographs albums and other photographs taken during events documenting the school life throughout the academic years."," Broward County Historical Archives","English"],"unitid_tesim":["BCHA.1977.15","/repositories/4/resources/64"],"normalized_date_ssm":["1938-1975"],"normalized_title_ssm":["Eastside Elementary School Collection, 1938-1975"],"collection_title_tesim":["Eastside Elementary School Collection, 1938-1975"],"collection_ssim":["Eastside Elementary School Collection, 1938-1975"],"repository_ssm":["Broward County Historical Archives"],"repository_ssim":["Broward County Historical Archives"],"access_subjects_ssim":["Elementary schools -- Florida -- Broward County","Education -- Research grants","Teachers -- Florida -- Broward County","Children","Photographs","scrapbooks","Photograph albums","Correspondence","Group portraits"],"access_subjects_ssm":["Elementary schools -- Florida -- Broward County","Education -- Research grants","Teachers -- Florida -- Broward County","Children","Photographs","scrapbooks","Photograph albums","Correspondence","Group portraits"],"has_online_content_ssim":["false"],"extent_ssm":["6 Hollinger Boxes"],"extent_tesim":["6 Hollinger Boxes"],"genreform_ssim":["Photographs","scrapbooks","Photograph albums","Correspondence","Group portraits"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe Eastside Elementary School Collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The Eastside Elementary School Collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eEastside Elementary School Collection is organized in five series : Series I: Parents and Teachers Association Papers, Series II: Classroom Photograph Albums, Series III: Photographs, Series IV: Postcards, Series V: Audiotapes.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Eastside Elementary School Collection is organized in five series : Series I: Parents and Teachers Association Papers, Series II: Classroom Photograph Albums, Series III: Photographs, Series IV: Postcards, Series V: Audiotapes."],"bioghist_html_tesm":["\u003cp\u003eEastside Elementary School was built in 1938. It was located at 1001 E. Broward Boulevard in Fort Lauderdale, Florida. The school was voted for closure on April 9, 1977. The official last day of school was June 14, 1977. \u003c/p\u003e\n","\u003cp\u003eThe school has known 5 principals: Mrs. Lilian Crenshaw (1938 [1]-1958). She retired in 1958; Mr. Russel W. Rowe (1958-1960); Mrs. Isabel Shertenlieb (1960-1962). She retired in 1962; Mrs. Avis Peters (1962-1965 [2]); and Mr. James H. Henschel (1965-circa 1974 [3]).\u003c/p\u003e\n","\u003cp\u003eFootnotes:\n[1] The Fort Lauderdale Daily News and Evening Sentinel mentions Lillian Crenshaw as principal of Eastside Elementary School in 1938 (December 2, 1938).\n[2] Mrs Peters was still the Principal of Eastside Elementary School in February 1965 (Fort Lauderdale News, February 2, 1965). She then became the Principal at Westwood  Heights Elementary School (Fort Lauderdale News, November 4, 1965). Meanwhile, James Henschel was still a teacher at Lloyd Estates Elementary in April 1965 (Fort Lauderdale News, April 28, 1965). Although it is unclear if Mr Henschel arrived at Eastside Elementary School in 1965 or 1966, it is more likely that he became principal when Mrs Avis left in 1965.  \n[3] Although the latest sources in this collection mention Mr. Henschel as principal in 1971, it is more likely that he stayed until 1974. This year, other sources mention that he opened Tamarac Elementary School as its first Principal (See: https://tamaractalk.com/tamarac-elementary-school-celebrates-their-40th-anniversary-14273 ; https://www.legacy.com/us/obituaries/sunsentinel/name/james-henschel-obituary?id=8387302 ; Fort Lauderdale News, December 12, 1974).\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Eastside Elementary School was built in 1938. It was located at 1001 E. Broward Boulevard in Fort Lauderdale, Florida. The school was voted for closure on April 9, 1977. The official last day of school was June 14, 1977. ","The school has known 5 principals: Mrs. Lilian Crenshaw (1938 [1]-1958). She retired in 1958; Mr. Russel W. Rowe (1958-1960); Mrs. Isabel Shertenlieb (1960-1962). She retired in 1962; Mrs. Avis Peters (1962-1965 [2]); and Mr. James H. Henschel (1965-circa 1974 [3]).","Footnotes:\n[1] The Fort Lauderdale Daily News and Evening Sentinel mentions Lillian Crenshaw as principal of Eastside Elementary School in 1938 (December 2, 1938).\n[2] Mrs Peters was still the Principal of Eastside Elementary School in February 1965 (Fort Lauderdale News, February 2, 1965). She then became the Principal at Westwood  Heights Elementary School (Fort Lauderdale News, November 4, 1965). Meanwhile, James Henschel was still a teacher at Lloyd Estates Elementary in April 1965 (Fort Lauderdale News, April 28, 1965). Although it is unclear if Mr Henschel arrived at Eastside Elementary School in 1965 or 1966, it is more likely that he became principal when Mrs Avis left in 1965.  \n[3] Although the latest sources in this collection mention Mr. Henschel as principal in 1971, it is more likely that he stayed until 1974. This year, other sources mention that he opened Tamarac Elementary School as its first Principal (See: https://tamaractalk.com/tamarac-elementary-school-celebrates-their-40th-anniversary-14273 ; https://www.legacy.com/us/obituaries/sunsentinel/name/james-henschel-obituary?id=8387302 ; Fort Lauderdale News, December 12, 1974)."],"prefercite_html_tesm":["\u003cp\u003eThe Eastside Elementary School Collection, Broward County Historical Archives, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["The Eastside Elementary School Collection, Broward County Historical Archives, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThe Eastside Elementary School Collection received file level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The Eastside Elementary School Collection received file level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection."],"scopecontent_html_tesm":["\u003cp\u003eThe Eastside Elementary School collection consists of documents related to the history of Eastside Elementary School in Fort Lauderdale, Florida. The collection contains scrapbooks (also called the \"Historian Year Book\"), updated by the Parents and Teachers Association historian, classroom photographs albums and other photographs taken during events documenting the school life throughout the academic years.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Eastside Elementary School collection consists of documents related to the history of Eastside Elementary School in Fort Lauderdale, Florida. The collection contains scrapbooks (also called the \"Historian Year Book\"), updated by the Parents and Teachers Association historian, classroom photographs albums and other photographs taken during events documenting the school life throughout the academic years."],"names_ssim":[" Broward County Historical Archives"],"corpname_ssim":[" Broward County Historical Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":35,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870840913334370304,"_root_":"b0a7b3450ffbab4fc57cfd81","timestamp":"2026-07-16T03:35:29.129Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/b0a7b3450ffbab4fc57cfd81_aspace_93be5648a9b44302b42e01f91d25e368"}},{"id":"d20aa889e8ea8129c93e6502_aspace_c8901aedc2c7e42cff2cd6f964907d84","type":"Series","attributes":{"title":"Paris Poetry Group, 1983-2006","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/d20aa889e8ea8129c93e6502_aspace_c8901aedc2c7e42cff2cd6f964907d84#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_c8901aedc2c7e42cff2cd6f964907d84","ref_ssm":["aspace_c8901aedc2c7e42cff2cd6f964907d84","aspace_c8901aedc2c7e42cff2cd6f964907d84"],"id":"d20aa889e8ea8129c93e6502_aspace_c8901aedc2c7e42cff2cd6f964907d84","title_filing_ssi":"Paris Poetry Group","title_ssm":["Paris Poetry Group"],"title_tesim":["Paris Poetry Group"],"unitdate_inclusive_ssm":["1983-2006"],"normalized_date_ssm":["1983-2006"],"normalized_title_ssm":["Paris Poetry Group, 1983-2006"],"text":["Paris Poetry Group, 1983-2006","Nola Perez Papers, 1969-2022","/repositories/3/archival_objects/9230"],"component_level_isim":[1],"parent_ids_ssim":["d20aa889e8ea8129c93e6502"],"parent_unittitles_ssm":["Nola Perez Papers, 1969-2022"],"parent_unittitles_tesim":["Nola Perez Papers, 1969-2022"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/3/archival_objects/9230"],"repository_ssim":["UNF Library Special Collections and University Archives"],"collection_ssim":["Nola Perez Papers, 1969-2022"],"has_online_content_ssim":["false"],"child_component_count_isi":5,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":73,"parent_access_restrict_tesm":["The collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment."],"parent_access_terms_tesm":["Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \" fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information"],"date_range_isim":[1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006],"_nest_path_":"/components#7","_nest_parent_":"d20aa889e8ea8129c93e6502","_root_":"d20aa889e8ea8129c93e6502","_version_":1870860591887810560,"timestamp":"2026-07-16T08:48:16.050Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"d20aa889e8ea8129c93e6502","title_ssm":["Nola Perez Papers"],"title_tesim":["Nola Perez Papers"],"ead_ssi":"d20aa889e8ea8129c93e6502","unitdate_ssm":["1969-2022"],"unitdate_inclusive_ssm":["1969-2022"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["2016.006","/repositories/3/resources/78"],"text":["2016.006","/repositories/3/resources/78","Nola Perez Papers, 1969-2022","The collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment.","Nola Baker Perez was born in 1931 on Amelia Island in the town of Fernandina. She acquired a keen interest in literature and poetry during her years at Fernandina High School and received her higher education at Florida State University and Massey Business College. She left her hometown in the early 1970s and moved to Atlanta along with her husband. ","During her two decades in Atlanta, Nola regularly attended poetry workshops and readings. It is during this time that she struck up friendships with accomplished fellow poets and mentors like Walter Griffin and Andrew Glaze. Through the 1980s she continued to hone her poetry publishing her works in various poetry publications across the country.","In the 1990s as part of her husband's government work, she moved across the Atlantic to Europe. She spent the next seven years between Paris and Brussels. During this time, she continued to refine her poetry as part of the Paris Poetry Group alongside other American expatriates in the embassy community. Her experiences on the Continent greatly influenced and inspired her poetry as she continued to publish and compete in poetry competitions including the 1993 National Poetry Series in which she was a finalist.","Upon her return to the United States and Amelia Island in 1999, Nola used her experiences in Europe to publish two books. The Continent of Dreams, a collection of poems from her time in Europe, and Cruising with the Kir Queen, a memoir of her experiences during those seven years were released to great critical reception. Since 2000 she has continued to write and publish poetry from her home in Fernandina, publishing fifteen books and regularly writing for local Amelia Island publications. Furthermore, she is a regular guest and organizer for the Amelia Island Book Festival since 2001. In 2016 her contributions as a poet and Amelia Island native earned her recognition as the Poet Laureate of Fernandina Beach. ","This collection is home to the personal papers of Nola Baker Perez, the Poet Laureate of Fernandina Beach and native of Amelia Island. These papers provide insight into the literary career of Nola Perez and the effect her travels and poetry mentors had in shaping her works. Furthermore, this collection grants a look into the experiences of an American living amongst the English language literary community in Paris and Brussels during the 1990s, as well as material on the Amelia Island Book Festival from the 2000s through the 2010s. ","Series in this collection include the following:","Series 1 – Awards and Accolades (arranged chronologically) houses award certificates/notifications and poetry by others that honor Nola Perez","Series 2 – Biographical Information (arranged chronologically) contains a personal statement, resume and newspaper articles","Series 3 – Correspondence (arranged chronologically) is comprised of a large variety of correspondence received by Nola Perez during her career, ranging from holiday cards to emails","Series 4 – Critiques (arranged chronologically) include critical receptions of Nola Perez's work","Series 5 – Events (arranged alphabetically by subseries)","Subseries 1 – Amelia Island Book Festival (arranged chronologically) has programs, photographs and correspondence related to the Book Festival","Subseries 2 – Book Signings and Poetry Readings (arranged chronologically) includes information and photographs","Subseries 3 – Performances (arranged chronologically) relates to the performances of \"Fernandina and Other Images\"","Series 6 – Grants and Fellowships (arranged chronologically) contains applications and related documents for literature fellowships from such organizations as the National Endowment for the Arts and the Camargo Foundation","Series 7 – Mentors (arranged alphabetically by mentor last name) include correspondence from individuals Nola Perez identified as having a large influence on her work and career","Series 8 – Paris Poetry Group (arranged alphabetically by subject matter) includes materials relating to Nola Perez's years as an American poet living in Paris and Brussels","Subseries 1 – Members (arranged alphabetically by member last name) has correspondence and works of the members of the Paris Poetry Group","Subseries 2 – Photographs (arranged chronologically)","Subseries 3 – Poetry Readings (arranged chronologically) contains advertisements for the readings and photographs","Subseries 4 – Publications (arranged chronologically)","Subseries 5 – Workshops (arranged chronologically)","Series 9 – Photographs (arranged chronologically) include photographs not included with other series, largely from unidentified events","Series 10 – Poetry (arranged chronologically) contains a collection of Nola's poetry","Series 11 – Publications (arranged alphabetically by type of publication)","Subseries 1 – Books (arranged chronologically by publication date; chronological files within each book published)","Subseries 2 – Other (arranged alphabetically by publication title) includes articles in local Amelia Island publications","Subseries 3 – Poetry Journals (arranged chronologically by publication date)","Subseries 4 – Poetry/Online (arranged chronologically) includes poems posted on the Poetry Soup website","Series 12 – Travel (arranged chronologically) has information about trips to Casablanca, The American School in Brussels, and Milledgeville, Georgia","Series 13 – Workshops (arranged chronologically) contains information about the Atlanta Callanwolde Workshop","Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \" fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information","UNF Library Special Collections and University Archives","English"],"unitid_tesim":["2016.006","/repositories/3/resources/78"],"normalized_date_ssm":["1969-2022"],"normalized_title_ssm":["Nola Perez Papers, 1969-2022"],"collection_title_tesim":["Nola Perez Papers, 1969-2022"],"collection_ssim":["Nola Perez Papers, 1969-2022"],"repository_ssm":["UNF Library Special Collections and University Archives"],"repository_ssim":["UNF Library Special Collections and University Archives"],"access_terms_ssm":["Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \" fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information"],"acqinfo_ssim":["The collection was acquired through donation from Nola B. Perez, 2016-09-06."],"has_online_content_ssim":["false"],"extent_ssm":["7.00 Linear Feet Eleven (11) flip-top document boxes, one (1) shoe box, one (1) oversized box"],"extent_tesim":["7.00 Linear Feet Eleven (11) flip-top document boxes, one (1) shoe box, one (1) oversized box"],"date_range_isim":[1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment."],"bioghist_html_tesm":["\u003cp\u003eNola Baker Perez was born in 1931 on Amelia Island in the town of Fernandina. She acquired a keen interest in literature and poetry during her years at Fernandina High School and received her higher education at Florida State University and Massey Business College. She left her hometown in the early 1970s and moved to Atlanta along with her husband. \u003c/p\u003e\n","\u003cp\u003eDuring her two decades in Atlanta, Nola regularly attended poetry workshops and readings. It is during this time that she struck up friendships with accomplished fellow poets and mentors like Walter Griffin and Andrew Glaze. Through the 1980s she continued to hone her poetry publishing her works in various poetry publications across the country.\u003c/p\u003e\n","\u003cp\u003eIn the 1990s as part of her husband's government work, she moved across the Atlantic to Europe. She spent the next seven years between Paris and Brussels. During this time, she continued to refine her poetry as part of the Paris Poetry Group alongside other American expatriates in the embassy community. Her experiences on the Continent greatly influenced and inspired her poetry as she continued to publish and compete in poetry competitions including the 1993 National Poetry Series in which she was a finalist.\u003c/p\u003e\n","\u003cp\u003eUpon her return to the United States and Amelia Island in 1999, Nola used her experiences in Europe to publish two books. The Continent of Dreams, a collection of poems from her time in Europe, and Cruising with the Kir Queen, a memoir of her experiences during those seven years were released to great critical reception. Since 2000 she has continued to write and publish poetry from her home in Fernandina, publishing fifteen books and regularly writing for local Amelia Island publications. Furthermore, she is a regular guest and organizer for the Amelia Island Book Festival since 2001. In 2016 her contributions as a poet and Amelia Island native earned her recognition as the Poet Laureate of Fernandina Beach. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Nola Baker Perez was born in 1931 on Amelia Island in the town of Fernandina. She acquired a keen interest in literature and poetry during her years at Fernandina High School and received her higher education at Florida State University and Massey Business College. She left her hometown in the early 1970s and moved to Atlanta along with her husband. ","During her two decades in Atlanta, Nola regularly attended poetry workshops and readings. It is during this time that she struck up friendships with accomplished fellow poets and mentors like Walter Griffin and Andrew Glaze. Through the 1980s she continued to hone her poetry publishing her works in various poetry publications across the country.","In the 1990s as part of her husband's government work, she moved across the Atlantic to Europe. She spent the next seven years between Paris and Brussels. During this time, she continued to refine her poetry as part of the Paris Poetry Group alongside other American expatriates in the embassy community. Her experiences on the Continent greatly influenced and inspired her poetry as she continued to publish and compete in poetry competitions including the 1993 National Poetry Series in which she was a finalist.","Upon her return to the United States and Amelia Island in 1999, Nola used her experiences in Europe to publish two books. The Continent of Dreams, a collection of poems from her time in Europe, and Cruising with the Kir Queen, a memoir of her experiences during those seven years were released to great critical reception. Since 2000 she has continued to write and publish poetry from her home in Fernandina, publishing fifteen books and regularly writing for local Amelia Island publications. Furthermore, she is a regular guest and organizer for the Amelia Island Book Festival since 2001. In 2016 her contributions as a poet and Amelia Island native earned her recognition as the Poet Laureate of Fernandina Beach. "],"prefercite_html_tesm":["\u003cp\u003eNola Perez Papers, Thomas G. Carpenter Library, University of North Florida, Jacksonville, Florida.\u003c/p\u003e"],"prefercite_tesim":["Nola Perez Papers, Thomas G. Carpenter Library, University of North Florida, Jacksonville, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThis collection is home to the personal papers of Nola Baker Perez, the Poet Laureate of Fernandina Beach and native of Amelia Island. These papers provide insight into the literary career of Nola Perez and the effect her travels and poetry mentors had in shaping her works. Furthermore, this collection grants a look into the experiences of an American living amongst the English language literary community in Paris and Brussels during the 1990s, as well as material on the Amelia Island Book Festival from the 2000s through the 2010s. \u003c/p\u003e\n","\u003cp\u003eSeries in this collection include the following:\u003c/p\u003e\n","\u003cp\u003eSeries 1 \u0026#x2013; Awards and Accolades (arranged chronologically) houses award certificates/notifications and poetry by others that honor Nola Perez\u003c/p\u003e\n","\u003cp\u003eSeries 2 \u0026#x2013; Biographical Information (arranged chronologically) contains a personal statement, resume and newspaper articles\u003c/p\u003e\n","\u003cp\u003eSeries 3 \u0026#x2013; Correspondence (arranged chronologically) is comprised of a large variety of correspondence received by Nola Perez during her career, ranging from holiday cards to emails\u003c/p\u003e\n","\u003cp\u003eSeries 4 \u0026#x2013; Critiques (arranged chronologically) include critical receptions of Nola Perez's work\u003c/p\u003e\n","\u003cp\u003eSeries 5 \u0026#x2013; Events (arranged alphabetically by subseries)\u003c/p\u003e\n","\u003cp\u003eSubseries 1 \u0026#x2013; Amelia Island Book Festival (arranged chronologically) has programs, photographs and correspondence related to the Book Festival\u003c/p\u003e\n","\u003cp\u003eSubseries 2 \u0026#x2013; Book Signings and Poetry Readings (arranged chronologically) includes information and photographs\u003c/p\u003e\n","\u003cp\u003eSubseries 3 \u0026#x2013; Performances (arranged chronologically) relates to the performances of \"Fernandina and Other Images\"\u003c/p\u003e\n","\u003cp\u003eSeries 6 \u0026#x2013; Grants and Fellowships (arranged chronologically) contains applications and related documents for literature fellowships from such organizations as the National Endowment for the Arts and the Camargo Foundation\u003c/p\u003e\n","\u003cp\u003eSeries 7 \u0026#x2013; Mentors (arranged alphabetically by mentor last name) include correspondence from individuals Nola Perez identified as having a large influence on her work and career\u003c/p\u003e\n","\u003cp\u003eSeries 8 \u0026#x2013; Paris Poetry Group (arranged alphabetically by subject matter) includes materials relating to Nola Perez's years as an American poet living in Paris and Brussels\u003c/p\u003e\n","\u003cp\u003eSubseries 1 \u0026#x2013; Members (arranged alphabetically by member last name) has correspondence and works of the members of the Paris Poetry Group\u003c/p\u003e\n","\u003cp\u003eSubseries 2 \u0026#x2013; Photographs (arranged chronologically)\u003c/p\u003e\n","\u003cp\u003eSubseries 3 \u0026#x2013; Poetry Readings (arranged chronologically) contains advertisements for the readings and photographs\u003c/p\u003e\n","\u003cp\u003eSubseries 4 \u0026#x2013; Publications (arranged chronologically)\u003c/p\u003e\n","\u003cp\u003eSubseries 5 \u0026#x2013; Workshops (arranged chronologically)\u003c/p\u003e\n","\u003cp\u003eSeries 9 \u0026#x2013; Photographs (arranged chronologically) include photographs not included with other series, largely from unidentified events\u003c/p\u003e\n","\u003cp\u003eSeries 10 \u0026#x2013; Poetry (arranged chronologically) contains a collection of Nola's poetry\u003c/p\u003e\n","\u003cp\u003eSeries 11 \u0026#x2013; Publications (arranged alphabetically by type of publication)\u003c/p\u003e\n","\u003cp\u003eSubseries 1 \u0026#x2013; Books (arranged chronologically by publication date; chronological files within each book published)\u003c/p\u003e\n","\u003cp\u003eSubseries 2 \u0026#x2013; Other (arranged alphabetically by publication title) includes articles in local Amelia Island publications\u003c/p\u003e\n","\u003cp\u003eSubseries 3 \u0026#x2013; Poetry Journals (arranged chronologically by publication date)\u003c/p\u003e\n","\u003cp\u003eSubseries 4 \u0026#x2013; Poetry/Online (arranged chronologically) includes poems posted on the Poetry Soup website\u003c/p\u003e\n","\u003cp\u003eSeries 12 \u0026#x2013; Travel (arranged chronologically) has information about trips to Casablanca, The American School in Brussels, and Milledgeville, Georgia\u003c/p\u003e\n","\u003cp\u003eSeries 13 \u0026#x2013; Workshops (arranged chronologically) contains information about the Atlanta Callanwolde Workshop\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection is home to the personal papers of Nola Baker Perez, the Poet Laureate of Fernandina Beach and native of Amelia Island. These papers provide insight into the literary career of Nola Perez and the effect her travels and poetry mentors had in shaping her works. Furthermore, this collection grants a look into the experiences of an American living amongst the English language literary community in Paris and Brussels during the 1990s, as well as material on the Amelia Island Book Festival from the 2000s through the 2010s. ","Series in this collection include the following:","Series 1 – Awards and Accolades (arranged chronologically) houses award certificates/notifications and poetry by others that honor Nola Perez","Series 2 – Biographical Information (arranged chronologically) contains a personal statement, resume and newspaper articles","Series 3 – Correspondence (arranged chronologically) is comprised of a large variety of correspondence received by Nola Perez during her career, ranging from holiday cards to emails","Series 4 – Critiques (arranged chronologically) include critical receptions of Nola Perez's work","Series 5 – Events (arranged alphabetically by subseries)","Subseries 1 – Amelia Island Book Festival (arranged chronologically) has programs, photographs and correspondence related to the Book Festival","Subseries 2 – Book Signings and Poetry Readings (arranged chronologically) includes information and photographs","Subseries 3 – Performances (arranged chronologically) relates to the performances of \"Fernandina and Other Images\"","Series 6 – Grants and Fellowships (arranged chronologically) contains applications and related documents for literature fellowships from such organizations as the National Endowment for the Arts and the Camargo Foundation","Series 7 – Mentors (arranged alphabetically by mentor last name) include correspondence from individuals Nola Perez identified as having a large influence on her work and career","Series 8 – Paris Poetry Group (arranged alphabetically by subject matter) includes materials relating to Nola Perez's years as an American poet living in Paris and Brussels","Subseries 1 – Members (arranged alphabetically by member last name) has correspondence and works of the members of the Paris Poetry Group","Subseries 2 – Photographs (arranged chronologically)","Subseries 3 – Poetry Readings (arranged chronologically) contains advertisements for the readings and photographs","Subseries 4 – Publications (arranged chronologically)","Subseries 5 – Workshops (arranged chronologically)","Series 9 – Photographs (arranged chronologically) include photographs not included with other series, largely from unidentified events","Series 10 – Poetry (arranged chronologically) contains a collection of Nola's poetry","Series 11 – Publications (arranged alphabetically by type of publication)","Subseries 1 – Books (arranged chronologically by publication date; chronological files within each book published)","Subseries 2 – Other (arranged alphabetically by publication title) includes articles in local Amelia Island publications","Subseries 3 – Poetry Journals (arranged chronologically by publication date)","Subseries 4 – Poetry/Online (arranged chronologically) includes poems posted on the Poetry Soup website","Series 12 – Travel (arranged chronologically) has information about trips to Casablanca, The American School in Brussels, and Milledgeville, Georgia","Series 13 – Workshops (arranged chronologically) contains information about the Atlanta Callanwolde Workshop"],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \" fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \" fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information"],"names_ssim":["UNF Library Special Collections and University Archives"],"corpname_ssim":["UNF Library Special Collections and University Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":231,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870860591887810560,"_root_":"d20aa889e8ea8129c93e6502","timestamp":"2026-07-16T08:48:16.050Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/d20aa889e8ea8129c93e6502_aspace_c8901aedc2c7e42cff2cd6f964907d84"}},{"id":"b3e3946ef6807fa75af31fc1_aspace_69425","type":"Series","attributes":{"title":"Parker Playhouse Productions","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/b3e3946ef6807fa75af31fc1_aspace_69425#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_69425","ref_ssm":["aspace_69425","aspace_69425"],"id":"b3e3946ef6807fa75af31fc1_aspace_69425","title_filing_ssi":"Parker Playhouse Productions","title_ssm":["Parker Playhouse Productions"],"title_tesim":["Parker Playhouse Productions"],"normalized_title_ssm":["Parker Playhouse Productions"],"text":["Parker Playhouse Productions","Maria Alexander Callinicos Collection, bulk date unknown","Series 2","/repositories/2/archival_objects/7395"],"component_level_isim":[1],"parent_ids_ssim":["b3e3946ef6807fa75af31fc1"],"parent_unittitles_ssm":["Maria Alexander Callinicos Collection, bulk date unknown"],"parent_unittitles_tesim":["Maria Alexander Callinicos Collection, bulk date unknown"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 2","/repositories/2/archival_objects/7395"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Maria Alexander Callinicos Collection, bulk date unknown"],"has_online_content_ssim":["false"],"child_component_count_isi":105,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":72,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections. ","For more information please visit: https://library.fiu.edu/find/copyright/general"],"_nest_path_":"/components#1","_nest_parent_":"b3e3946ef6807fa75af31fc1","_root_":"b3e3946ef6807fa75af31fc1","_version_":1870844524975095808,"timestamp":"2026-07-16T04:32:53.456Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"b3e3946ef6807fa75af31fc1","title_ssm":["Maria Alexander Callinicos Collection"],"title_tesim":["Maria Alexander Callinicos Collection"],"ead_ssi":"b3e3946ef6807fa75af31fc1","unitdate_ssm":["date unknown"],"unitdate_bulk_ssim":["date unknown"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC7060","/repositories/2/resources/29"],"text":["SPC7060","/repositories/2/resources/29","Maria Alexander Callinicos Collection, bulk date unknown","The collection is open for research.","This collection contains production orders and brochures from plays featured at the Coral Gables and Parker Playhouses. Such examples include renditions of Bram Stoker's Dracula, Agatha Christie's Go Back for Murder, and Shelden Epp's Blues in the Night. There are over 100 play accounts in this collection, and these plays are based on more than just books, but classic plays as well, such as Neil Simon's The Gingerbread Lady. Here, individuals can grasp the creative reactions and perspectives from great writers of the past as they brought their masterpieces to South Florida.","Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections. ","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","English"],"unitid_tesim":["SPC7060","/repositories/2/resources/29"],"normalized_date_ssm":["bulk date unknown"],"normalized_title_ssm":["Maria Alexander Callinicos Collection, bulk date unknown"],"collection_title_tesim":["Maria Alexander Callinicos Collection, bulk date unknown"],"collection_ssim":["Maria Alexander Callinicos Collection, bulk date unknown"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections. ","For more information please visit: https://library.fiu.edu/find/copyright/general"],"acqinfo_ssim":["Donation"],"has_online_content_ssim":["false"],"extent_ssm":["0.00 Linear Feet"],"extent_tesim":["0.00 Linear Feet"],"date_range_isim":[1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains production orders and brochures from plays featured at the Coral Gables and Parker Playhouses. Such examples include renditions of Bram Stoker's Dracula, Agatha Christie's Go Back for Murder, and Shelden Epp's Blues in the Night. There are over 100 play accounts in this collection, and these plays are based on more than just books, but classic plays as well, such as Neil Simon's The Gingerbread Lady. Here, individuals can grasp the creative reactions and perspectives from great writers of the past as they brought their masterpieces to South Florida.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains production orders and brochures from plays featured at the Coral Gables and Parker Playhouses. Such examples include renditions of Bram Stoker's Dracula, Agatha Christie's Go Back for Murder, and Shelden Epp's Blues in the Night. There are over 100 play accounts in this collection, and these plays are based on more than just books, but classic plays as well, such as Neil Simon's The Gingerbread Lady. Here, individuals can grasp the creative reactions and perspectives from great writers of the past as they brought their masterpieces to South Florida."],"userestrict_html_tesm":["\u003cp\u003eRights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/\u003c/p\u003e\n","\u003cp\u003eSpecial Collections \u0026amp; University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections. \u003c/p\u003e\n","\u003cp\u003eFor more information please visit: https://library.fiu.edu/find/copyright/general\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections. ","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":177,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844524975095808,"_root_":"b3e3946ef6807fa75af31fc1","timestamp":"2026-07-16T04:32:53.456Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/b3e3946ef6807fa75af31fc1_aspace_69425"}},{"id":"7a810d7561261a3999010a98_aspace_c612f8dbba8110a2c54f7f3734cdf000","type":"Series","attributes":{"title":"Parking Passes","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/7a810d7561261a3999010a98_aspace_c612f8dbba8110a2c54f7f3734cdf000#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_c612f8dbba8110a2c54f7f3734cdf000","ref_ssm":["aspace_c612f8dbba8110a2c54f7f3734cdf000","aspace_c612f8dbba8110a2c54f7f3734cdf000"],"id":"7a810d7561261a3999010a98_aspace_c612f8dbba8110a2c54f7f3734cdf000","title_filing_ssi":"Parking Passes","title_ssm":["Parking Passes"],"title_tesim":["Parking Passes"],"normalized_title_ssm":["Parking Passes"],"text":["Parking Passes","Jacksonville [FL] Jazz Festival Collection, 1981-2014","/repositories/3/archival_objects/8363","box 4"],"component_level_isim":[1],"parent_ids_ssim":["7a810d7561261a3999010a98"],"parent_unittitles_ssm":["Jacksonville [FL] Jazz Festival Collection, 1981-2014"],"parent_unittitles_tesim":["Jacksonville [FL] Jazz Festival Collection, 1981-2014"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/3/archival_objects/8363"],"repository_ssim":["UNF Library Special Collections and University Archives"],"collection_ssim":["Jacksonville [FL] Jazz Festival Collection, 1981-2014"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":73,"parent_access_restrict_tesm":["The collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment."],"parent_access_terms_tesm":["Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \"fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information"],"containers_ssim":["box 4"],"_nest_path_":"/components#6","_nest_parent_":"7a810d7561261a3999010a98","_root_":"7a810d7561261a3999010a98","_version_":1870860570070089728,"timestamp":"2026-07-16T08:47:55.250Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"7a810d7561261a3999010a98","title_ssm":["Jacksonville [FL] Jazz Festival Collection"],"title_tesim":["Jacksonville [FL] Jazz Festival Collection"],"ead_ssi":"7a810d7561261a3999010a98","unitdate_ssm":["1981-2014"],"unitdate_inclusive_ssm":["1981-2014"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["2007.001","/repositories/3/resources/52"],"text":["2007.001","/repositories/3/resources/52","Jacksonville [FL] Jazz Festival Collection, 1981-2014","Mayport and All That Jazz Festival (1981 : Jacksonville, Fla.)","Jazz--Florida--Jacksonville","Jazz festivals--Florida--Jacksonville","The collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment.","The Jacksonville Jazz Festival is a popular musical event held annually in Jacksonville, Florida that has grown into a major event with attendance in excess of 10,000. The Festival has featured a variety of local, national, and international performers over the years including jazz legends Dizzy Gillespie (1981), Miles Davis (1986), Tony Bennett (2003), Natalie Cole (2011), Patti Austin (2012), and Sonny Rollins (2012). ","The first Festival, Mayport and all that Jazz, was held in 1980, named after the fishing village of Mayport near Jacksonville Beach. It was a one-day celebration featuring music and seafood, and sponsored by the City of Jacksonville. After its second year, the venue was moved to Metropolitan Park in downtown Jacksonville and was co-sponsored by the local public broadcasting affiliate WJCT. In 1983, the Great American Jazz Piano Competition was added as the Festival's opening event. After the 1984 concert the Festival was solely produced by WJCT and became known officially as the Jacksonville Jazz Festival. After a hiatus in 2001 and 2002 the City of Jacksonville once again sponsored the Festival in 2003 and has continued since. Over the years the event has included a piano competition, 5 km run, educational activities, talks, jazz jams, and multi-location concerts at various downtown venues. In 2020, due to the COVID-19 pandemic, the Festival was canceled.\n   ","The collection consists of the following series: ","Brochures/fliers, including promotional pamphlets, booklets, and flyers.","General Admission tickets.","Invitations to events during the Jacksonville Jazz Festival.","Media packets which include schedules, musician biographies, and musician photographs.","Newspaper articles/supplements about the Jacksonville Jazz Festival.","Official Stationery of the Jacksonville Jazz Festival with the logo.","Parking Passes for the Jacksonville Jazz Festival.","Photographs of events at the Jacksonville Jazz Festival.","Postcards with images from the commemorative posters.","Posters including the official commemorative posters and promotional posters with musician and venue information.","Programs, which are divided into two subseries: the Offical Programs with schedules and musician information, and the annual Jazz Piano Competion Programs.","Souvenirs and memorabilia, which are divided into subseries: Apparel (tee shirts and hats), Buttons/Pins, Cups/Cup Holders, Gift Bags, and   Lanyards (some with attached admission passes).","The series are arranged alphabetically; chronologically within each series/folder. ","Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \"fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information","UNF Library Special Collections and University Archives","Jacksonville Jazz Festival","English"],"unitid_tesim":["2007.001","/repositories/3/resources/52"],"normalized_date_ssm":["1981-2014"],"normalized_title_ssm":["Jacksonville [FL] Jazz Festival Collection, 1981-2014"],"collection_title_tesim":["Jacksonville [FL] Jazz Festival Collection, 1981-2014"],"collection_ssim":["Jacksonville [FL] Jazz Festival Collection, 1981-2014"],"repository_ssm":["UNF Library Special Collections and University Archives"],"repository_ssim":["UNF Library Special Collections and University Archives"],"creator_ssm":["Jacksonville Jazz Festival"],"creator_ssim":["Jacksonville Jazz Festival"],"creator_corpname_ssim":["Jacksonville Jazz Festival"],"creators_ssim":["Jacksonville Jazz Festival"],"access_terms_ssm":["Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \"fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information"],"acqinfo_ssim":["The collection was acquired through donation from Jacksonville Jazz Festival sponsors, WJCT, and City of Jacksonville beginning in 1981"],"access_subjects_ssim":["Mayport and All That Jazz Festival (1981 : Jacksonville, Fla.)","Jazz--Florida--Jacksonville","Jazz festivals--Florida--Jacksonville"],"access_subjects_ssm":["Mayport and All That Jazz Festival (1981 : Jacksonville, Fla.)","Jazz--Florida--Jacksonville","Jazz festivals--Florida--Jacksonville"],"has_online_content_ssim":["false"],"extent_ssm":["3.00 Linear Feet"],"extent_tesim":["3.00 Linear Feet"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment."],"bioghist_html_tesm":["\u003cp\u003eThe Jacksonville Jazz Festival is a popular musical event held annually in Jacksonville, Florida that has grown into a major event with attendance in excess of 10,000. The Festival has featured a variety of local, national, and international performers over the years including jazz legends Dizzy Gillespie (1981), Miles Davis (1986), Tony Bennett (2003), Natalie Cole (2011), Patti Austin (2012), and Sonny Rollins (2012). \u003c/p\u003e\n","\u003cp\u003eThe first Festival, Mayport and all that Jazz, was held in 1980, named after the fishing village of Mayport near Jacksonville Beach. It was a one-day celebration featuring music and seafood, and sponsored by the City of Jacksonville. After its second year, the venue was moved to Metropolitan Park in downtown Jacksonville and was co-sponsored by the local public broadcasting affiliate WJCT. In 1983, the Great American Jazz Piano Competition was added as the Festival's opening event. After the 1984 concert the Festival was solely produced by WJCT and became known officially as the Jacksonville Jazz Festival. After a hiatus in 2001 and 2002 the City of Jacksonville once again sponsored the Festival in 2003 and has continued since. Over the years the event has included a piano competition, 5 km run, educational activities, talks, jazz jams, and multi-location concerts at various downtown venues. In 2020, due to the COVID-19 pandemic, the Festival was canceled.\n   \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The Jacksonville Jazz Festival is a popular musical event held annually in Jacksonville, Florida that has grown into a major event with attendance in excess of 10,000. The Festival has featured a variety of local, national, and international performers over the years including jazz legends Dizzy Gillespie (1981), Miles Davis (1986), Tony Bennett (2003), Natalie Cole (2011), Patti Austin (2012), and Sonny Rollins (2012). ","The first Festival, Mayport and all that Jazz, was held in 1980, named after the fishing village of Mayport near Jacksonville Beach. It was a one-day celebration featuring music and seafood, and sponsored by the City of Jacksonville. After its second year, the venue was moved to Metropolitan Park in downtown Jacksonville and was co-sponsored by the local public broadcasting affiliate WJCT. In 1983, the Great American Jazz Piano Competition was added as the Festival's opening event. After the 1984 concert the Festival was solely produced by WJCT and became known officially as the Jacksonville Jazz Festival. After a hiatus in 2001 and 2002 the City of Jacksonville once again sponsored the Festival in 2003 and has continued since. Over the years the event has included a piano competition, 5 km run, educational activities, talks, jazz jams, and multi-location concerts at various downtown venues. In 2020, due to the COVID-19 pandemic, the Festival was canceled.\n   "],"prefercite_html_tesm":["\u003cp\u003eJacksonville Jazz Festival Collection, Thomas G. Carpenter Library, University of North Florida, Jacksonville, Florida.\u003c/p\u003e"],"prefercite_tesim":["Jacksonville Jazz Festival Collection, Thomas G. Carpenter Library, University of North Florida, Jacksonville, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of the following series: \u003c/p\u003e\n","\u003cp\u003eBrochures/fliers, including promotional pamphlets, booklets, and flyers.\u003c/p\u003e\n","\u003cp\u003eGeneral Admission tickets.\u003c/p\u003e\n","\u003cp\u003eInvitations to events during the Jacksonville Jazz Festival.\u003c/p\u003e\n","\u003cp\u003eMedia packets which include schedules, musician biographies, and musician photographs.\u003c/p\u003e\n","\u003cp\u003eNewspaper articles/supplements about the Jacksonville Jazz Festival.\u003c/p\u003e\n","\u003cp\u003eOfficial Stationery of the Jacksonville Jazz Festival with the logo.\u003c/p\u003e\n","\u003cp\u003eParking Passes for the Jacksonville Jazz Festival.\u003c/p\u003e\n","\u003cp\u003ePhotographs of events at the Jacksonville Jazz Festival.\u003c/p\u003e\n","\u003cp\u003ePostcards with images from the commemorative posters.\u003c/p\u003e\n","\u003cp\u003ePosters including the official commemorative posters and promotional posters with musician and venue information.\u003c/p\u003e\n","\u003cp\u003ePrograms, which are divided into two subseries: the Offical Programs with schedules and musician information, and the annual Jazz Piano Competion Programs.\u003c/p\u003e\n","\u003cp\u003eSouvenirs and memorabilia, which are divided into subseries: Apparel (tee shirts and hats), Buttons/Pins, Cups/Cup Holders, Gift Bags, and   Lanyards (some with attached admission passes).\u003c/p\u003e\n","\u003cp\u003eThe series are arranged alphabetically; chronologically within each series/folder. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection consists of the following series: ","Brochures/fliers, including promotional pamphlets, booklets, and flyers.","General Admission tickets.","Invitations to events during the Jacksonville Jazz Festival.","Media packets which include schedules, musician biographies, and musician photographs.","Newspaper articles/supplements about the Jacksonville Jazz Festival.","Official Stationery of the Jacksonville Jazz Festival with the logo.","Parking Passes for the Jacksonville Jazz Festival.","Photographs of events at the Jacksonville Jazz Festival.","Postcards with images from the commemorative posters.","Posters including the official commemorative posters and promotional posters with musician and venue information.","Programs, which are divided into two subseries: the Offical Programs with schedules and musician information, and the annual Jazz Piano Competion Programs.","Souvenirs and memorabilia, which are divided into subseries: Apparel (tee shirts and hats), Buttons/Pins, Cups/Cup Holders, Gift Bags, and   Lanyards (some with attached admission passes).","The series are arranged alphabetically; chronologically within each series/folder. "],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \"fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \"fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information"],"names_ssim":["UNF Library Special Collections and University Archives","Jacksonville Jazz Festival"],"corpname_ssim":["UNF Library Special Collections and University Archives","Jacksonville Jazz Festival"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":209,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870860570070089728,"_root_":"7a810d7561261a3999010a98","timestamp":"2026-07-16T08:47:55.250Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/7a810d7561261a3999010a98_aspace_c612f8dbba8110a2c54f7f3734cdf000"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Congressman James A. Haley Collection, 1948-1977","value":"Congressman James A. Haley Collection, 1948-1977","hits":588},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Congressman+James+A.+Haley+Collection%2C+1948-1977\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"William R. Jones Papers, 1953-2009","value":"William R. Jones Papers, 1953-2009","hits":569},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=William+R.+Jones+Papers%2C+1953-2009\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018","value":"Bruce Means Papers, 1941-1965, Date acquired: 07/06/2018","hits":306},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Bruce+Means+Papers%2C+1941-1965%2C+Date+acquired%3A+07%2F06%2F2018\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Senator Lee Constantine papers, 1990-2019","value":"Senator Lee Constantine papers, 1990-2019","hits":250},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Senator+Lee+Constantine+papers%2C+1990-2019\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Harrison Sayre Circus Collection, 1863-2001, Date acquired: 00/00/2010, bulk 1949-1994","value":"Harrison Sayre Circus Collection, 1863-2001, Date acquired: 00/00/2010, bulk 1949-1994","hits":123},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Harrison+Sayre+Circus+Collection%2C+1863-2001%2C+Date+acquired%3A+00%2F00%2F2010%2C+bulk+1949-1994\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Southwest Florida Regional Planning Council Collection, 1920-2020","value":"Southwest Florida Regional Planning Council Collection, 1920-2020","hits":107},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Southwest+Florida+Regional+Planning+Council+Collection%2C+1920-2020\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Claude Pepper Papers, 1900-1989","value":"Claude Pepper Papers, 1900-1989","hits":99},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Claude+Pepper+Papers%2C+1900-1989\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Special Events, 1995-2022","value":"Special Events, 1995-2022","hits":94},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Special+Events%2C+1995-2022\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"David Bien Papers, Date acquired: 09/28/2017","value":"David Bien Papers, Date acquired: 09/28/2017","hits":75},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=David+Bien+Papers%2C+Date+acquired%3A+09%2F28%2F2017\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","value":"Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","hits":72},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Photographic+lantern+slide+collection%2C+1902-1929%2C+Date+acquired%3A+00%2F00%2F1995\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Asian male nude collection, 1939-2014, Date acquired: 07/00/2013","value":"Asian male nude collection, 1939-2014, Date acquired: 07/00/2013","hits":67},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Asian+male+nude+collection%2C+1939-2014%2C+Date+acquired%3A+07%2F00%2F2013\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/collection_ssim.json?f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"type":"facet","id":"creator_ssim","attributes":{"label":"Creator","items":[{"attributes":{"label":"Letson, Arthur (Sethuel Arthur), 1921-1995","value":"Letson, Arthur (Sethuel Arthur), 1921-1995","hits":3},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Letson%2C+Arthur+%28Sethuel+Arthur%29%2C+1921-1995\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Martin, Michael V., Ph.D.","value":"Martin, Michael V., Ph.D.","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Martin%2C+Michael+V.%2C+Ph.D.\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Byers, Billy, 1927-1996","value":"Byers, Billy, 1927-1996","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Byers%2C+Billy%2C+1927-1996\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"F Club","value":"F Club","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=F+Club\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Florida State University College of Social Work","value":"Florida State University College of Social Work","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Florida+State+University+College+of+Social+Work\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"McHugh, Donna","value":"McHugh, Donna","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=McHugh%2C+Donna\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Mittan, J. Barry","value":"Mittan, J. Barry","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Mittan%2C+J.+Barry\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Southwest Florida Regional Planning Council","value":"Southwest Florida Regional Planning Council","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcreators%5D%5B%5D=Southwest+Florida+Regional+Planning+Council\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/creator_ssim.json?f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"type":"facet","id":"date_range_isim","attributes":{"label":"Date range","items":[{"attributes":{"label":"1994","value":"1994","hits":310},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1994\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1986","value":"1986","hits":309},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1986\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1985","value":"1985","hits":308},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1985\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1980","value":"1980","hits":307},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1980\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1987","value":"1987","hits":307},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1987\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1988","value":"1988","hits":307},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1988\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1997","value":"1997","hits":307},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1997\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1993","value":"1993","hits":306},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1993\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1981","value":"1981","hits":305},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1981\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1990","value":"1990","hits":305},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1990\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1995","value":"1995","hits":305},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1995\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1989","value":"1989","hits":304},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1989\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1979","value":"1979","hits":303},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1979\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1984","value":"1984","hits":303},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1984\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1992","value":"1992","hits":303},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1992\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1983","value":"1983","hits":300},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1983\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1996","value":"1996","hits":300},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1996\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1982","value":"1982","hits":298},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1982\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1991","value":"1991","hits":298},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1991\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1978","value":"1978","hits":294},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1978\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1976","value":"1976","hits":293},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1976\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1998","value":"1998","hits":293},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1998\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1977","value":"1977","hits":291},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1977\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1975","value":"1975","hits":284},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1975\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2000","value":"2000","hits":284},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2000\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1999","value":"1999","hits":281},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1999\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1974","value":"1974","hits":278},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1974\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1973","value":"1973","hits":270},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1973\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2001","value":"2001","hits":267},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2001\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1970","value":"1970","hits":264},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1970\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1971","value":"1971","hits":263},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1971\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1972","value":"1972","hits":262},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1972\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1969","value":"1969","hits":249},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1969\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2002","value":"2002","hits":249},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2002\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1968","value":"1968","hits":242},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1968\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1967","value":"1967","hits":238},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1967\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2003","value":"2003","hits":232},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2003\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1966","value":"1966","hits":230},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1966\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2005","value":"2005","hits":230},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2005\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1965","value":"1965","hits":229},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1965\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2004","value":"2004","hits":225},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2004\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1964","value":"1964","hits":223},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1964\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2006","value":"2006","hits":220},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2006\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1949","value":"1949","hits":215},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1949\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1950","value":"1950","hits":215},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1950\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1947","value":"1947","hits":214},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1947\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1948","value":"1948","hits":213},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1948\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1953","value":"1953","hits":213},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1953\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1946","value":"1946","hits":212},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1946\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1954","value":"1954","hits":212},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1954\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1963","value":"1963","hits":212},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1963\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1952","value":"1952","hits":211},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1952\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1960","value":"1960","hits":210},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1960\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1945","value":"1945","hits":209},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1945\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1955","value":"1955","hits":209},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1955\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2007","value":"2007","hits":209},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2007\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1951","value":"1951","hits":207},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1951\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1944","value":"1944","hits":205},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1944\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1962","value":"1962","hits":204},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1962\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1959","value":"1959","hits":203},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1959\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1956","value":"1956","hits":202},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1956\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1957","value":"1957","hits":202},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1957\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1958","value":"1958","hits":202},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1958\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1943","value":"1943","hits":199},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1943\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1961","value":"1961","hits":198},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1961\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1942","value":"1942","hits":196},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1942\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1941","value":"1941","hits":192},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1941\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2008","value":"2008","hits":188},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2008\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1940","value":"1940","hits":187},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1940\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1938","value":"1938","hits":185},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1938\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1939","value":"1939","hits":183},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1939\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1937","value":"1937","hits":181},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1937\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1936","value":"1936","hits":178},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1936\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1935","value":"1935","hits":175},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1934","value":"1934","hits":172},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1934\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2009","value":"2009","hits":169},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2009\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1933","value":"1933","hits":168},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1933\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1930","value":"1930","hits":166},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1930\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1932","value":"1932","hits":166},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1932\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1926","value":"1926","hits":163},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1926\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1931","value":"1931","hits":163},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1931\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1928","value":"1928","hits":161},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1928\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1927","value":"1927","hits":160},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1927\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1929","value":"1929","hits":160},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1929\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2010","value":"2010","hits":160},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2010\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1925","value":"1925","hits":158},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2011","value":"2011","hits":157},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2011\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1924","value":"1924","hits":155},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1924\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1923","value":"1923","hits":152},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1923\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1920","value":"1920","hits":151},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1920\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1921","value":"1921","hits":151},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1921\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1922","value":"1922","hits":151},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1922\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2012","value":"2012","hits":151},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"2013","value":"2013","hits":138},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=2013\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1918","value":"1918","hits":133},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1918\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1919","value":"1919","hits":133},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1919\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1917","value":"1917","hits":129},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1917\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1916","value":"1916","hits":128},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1916\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1915","value":"1915","hits":126},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1915\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"1914","value":"1914","hits":124},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1914\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/date_range_isim.json?f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"type":"facet","id":"level_ssim","attributes":{"label":"Level","items":[{"attributes":{"label":"Series","value":"Series","hits":8556},"links":{"remove":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026view=compact"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/level_ssim.json?f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"type":"facet","id":"names_ssim","attributes":{"label":"Names","items":[{"attributes":{"label":"Booth Theatre (New York, N.Y.)","value":"Booth Theatre (New York, N.Y.)","hits":12},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Booth+Theatre+%28New+York%2C+N.Y.%29\u0026view=compact"}},{"attributes":{"label":"Shubert Theatre (Organization : New York, N.Y.)","value":"Shubert Theatre (Organization : New York, N.Y.)","hits":12},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Shubert+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29\u0026view=compact"}},{"attributes":{"label":"Imperial Theatre (Organization : New York, N.Y.)","value":"Imperial Theatre (Organization : New York, N.Y.)","hits":11},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Imperial+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29\u0026view=compact"}},{"attributes":{"label":"Martin Beck Theatre (New York, N.Y.)","value":"Martin Beck Theatre (New York, N.Y.)","hits":11},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Martin+Beck+Theatre+%28New+York%2C+N.Y.%29\u0026view=compact"}},{"attributes":{"label":"Majestic Theatre (Organization : New York, N.Y.)","value":"Majestic Theatre (Organization : New York, N.Y.)","hits":10},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Majestic+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29\u0026view=compact"}},{"attributes":{"label":"Plymouth Theatre Corporation (New York, N.Y.)","value":"Plymouth Theatre Corporation (New York, N.Y.)","hits":10},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Plymouth+Theatre+Corporation+%28New+York%2C+N.Y.%29\u0026view=compact"}},{"attributes":{"label":"Broadhurst Theatre (Organization : New York, N.Y.)","value":"Broadhurst Theatre (Organization : New York, N.Y.)","hits":9},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Broadhurst+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29\u0026view=compact"}},{"attributes":{"label":"Broadway Theatre (Organization : New York, N.Y.)","value":"Broadway Theatre (Organization : New York, N.Y.)","hits":9},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Broadway+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29\u0026view=compact"}},{"attributes":{"label":"Morosco Theatre (Organization : New York, N.Y.)","value":"Morosco Theatre (Organization : New York, N.Y.)","hits":9},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Morosco+Theatre+%28Organization+%3A+New+York%2C+N.Y.%29\u0026view=compact"}},{"attributes":{"label":"Music Box Theater (New York, N.Y.)","value":"Music Box Theater (New York, N.Y.)","hits":9},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Music+Box+Theater+%28New+York%2C+N.Y.%29\u0026view=compact"}},{"attributes":{"label":"Barrymore Theatre Corporation","value":"Barrymore Theatre Corporation","hits":8},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bnames%5D%5B%5D=Barrymore+Theatre+Corporation\u0026view=compact"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/names_ssim.json?f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"FSU Special Collections \u0026 Archives","value":"FSU Special Collections \u0026 Archives","hits":2757},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=FSU+Special+Collections+%26+Archives\u0026view=compact"}},{"attributes":{"label":"USF Libraries - Tampa Special Collections","value":"USF Libraries - Tampa Special Collections","hits":1123},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=USF+Libraries+-+Tampa+Special+Collections\u0026view=compact"}},{"attributes":{"label":"The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections","value":"The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections","hits":795},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=The+Sarah+D.+and+L.+Kirk+McKay%2C+Jr.+Archives+Center+Manuscript+Collections\u0026view=compact"}},{"attributes":{"label":"UCF Special Collections","value":"UCF Special Collections","hits":762},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=UCF+Special+Collections\u0026view=compact"}},{"attributes":{"label":"Florida Atlantic University Libraries","value":"Florida Atlantic University Libraries","hits":559},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=Florida+Atlantic+University+Libraries\u0026view=compact"}},{"attributes":{"label":"FIU Special Collections","value":"FIU Special Collections","hits":372},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=FIU+Special+Collections\u0026view=compact"}},{"attributes":{"label":"Thomas B. Mack Florida Citrus Archives","value":"Thomas B. Mack Florida Citrus Archives","hits":348},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=Thomas+B.+Mack+Florida+Citrus+Archives\u0026view=compact"}},{"attributes":{"label":"UCF University Archives","value":"UCF University Archives","hits":332},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=UCF+University+Archives\u0026view=compact"}},{"attributes":{"label":"Florida Gulf Coast University Archives","value":"Florida Gulf Coast University Archives","hits":287},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=Florida+Gulf+Coast+University+Archives\u0026view=compact"}},{"attributes":{"label":"UNF Library Special Collections and University Archives","value":"UNF Library Special Collections and University Archives","hits":280},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=UNF+Library+Special+Collections+and+University+Archives\u0026view=compact"}},{"attributes":{"label":"Broward County Historical Archives","value":"Broward County Historical Archives","hits":223},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=Broward+County+Historical+Archives\u0026view=compact"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/repository_ssim.json?f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"type":"facet","id":"geogname_ssim","attributes":{"label":"Places","items":[{"attributes":{"label":"Community organization.","value":"Community organization.","hits":4},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Community+organization.\u0026view=compact"}},{"attributes":{"label":"Vero Beach (Fla.)","value":"Vero Beach (Fla.)","hits":4},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Vero+Beach+%28Fla.%29\u0026view=compact"}},{"attributes":{"label":"Zines.","value":"Zines.","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Zines.\u0026view=compact"}},{"attributes":{"label":"20th Anniversary -- Florida Gulf Coast University","value":"20th Anniversary -- Florida Gulf Coast University","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=20th+Anniversary+--+Florida+Gulf+Coast+University\u0026view=compact"}},{"attributes":{"label":"Art.","value":"Art.","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Art.\u0026view=compact"}},{"attributes":{"label":"Bahia Mar Yachting Center","value":"Bahia Mar Yachting Center","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Bahia+Mar+Yachting+Center\u0026view=compact"}},{"attributes":{"label":"COVID-19 (Disease)--Social aspects.","value":"COVID-19 (Disease)--Social aspects.","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=COVID-19+%28Disease%29--Social+aspects.\u0026view=compact"}},{"attributes":{"label":"Captiva Island (Fla.)","value":"Captiva Island (Fla.)","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Captiva+Island+%28Fla.%29\u0026view=compact"}},{"attributes":{"label":"Charlotte County (Fla.)","value":"Charlotte County (Fla.)","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Charlotte+County+%28Fla.%29\u0026view=compact"}},{"attributes":{"label":"Collier County (Fla.)","value":"Collier County (Fla.)","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Collier+County+%28Fla.%29\u0026view=compact"}},{"attributes":{"label":"Commencement ceremonies","value":"Commencement ceremonies","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026f%5Bplaces%5D%5B%5D=Commencement+ceremonies\u0026view=compact"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/geogname_ssim.json?f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"type":"facet","id":"access_subjects_ssim","attributes":{"label":"Subjects","items":[{"attributes":{"label":"FGCU Alumni Association","value":"FGCU Alumni Association","hits":14},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=FGCU+Alumni+Association\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"American Association of University Women","value":"American Association of University Women","hits":4},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=American+Association+of+University+Women\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Oral history","value":"Oral history","hits":4},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Oral+history\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"25th Anniversary -- Florida Gulf Coast University","value":"25th Anniversary -- Florida Gulf Coast University","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=25th+Anniversary+--+Florida+Gulf+Coast+University\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Athletics","value":"Athletics","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Athletics\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Maps","value":"Maps","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Maps\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Water--Management.","value":"Water--Management.","hits":2},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Water--Management.\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Alico Arena","value":"Alico Arena","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Alico+Arena\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Architecture -- Florida -- Tampa","value":"Architecture -- Florida -- Tampa","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Architecture+--+Florida+--+Tampa\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Architecture, Domestic -- Designs and plans","value":"Architecture, Domestic -- Designs and plans","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Architecture%2C+Domestic+--+Designs+and+plans\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Beach integration","value":"Beach integration","hits":1},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Beach+integration\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/access_subjects_ssim.json?f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"type":"search_field","id":"all_fields","attributes":{"label":"All Fields"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026search_field=all_fields\u0026view=compact"}},{"type":"search_field","id":"keyword","attributes":{"label":"Keyword"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026search_field=keyword\u0026view=compact"}},{"type":"search_field","id":"name","attributes":{"label":"Name"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026search_field=name\u0026view=compact"}},{"type":"search_field","id":"place","attributes":{"label":"Place"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026search_field=place\u0026view=compact"}},{"type":"search_field","id":"subject","attributes":{"label":"Subject"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026search_field=subject\u0026view=compact"}},{"type":"search_field","id":"title","attributes":{"label":"Title"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026search_field=title\u0026view=compact"}},{"type":"search_field","id":"container","attributes":{"label":"Container"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026search_field=container\u0026view=compact"}},{"type":"search_field","id":"identifier","attributes":{"label":"Identifier"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026search_field=identifier\u0026view=compact"}},{"type":"sort","id":"score desc, title_sort asc","attributes":{"label":"relevance"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026sort=score+desc%2C+title_sort+asc\u0026view=compact"}},{"type":"sort","id":"date_sort asc","attributes":{"label":"date (ascending)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026sort=date_sort+asc\u0026view=compact"}},{"type":"sort","id":"date_sort desc","attributes":{"label":"date (descending)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026sort=date_sort+desc\u0026view=compact"}},{"type":"sort","id":"creator_sort asc","attributes":{"label":"creator (A-Z)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026sort=creator_sort+asc\u0026view=compact"}},{"type":"sort","id":"creator_sort desc","attributes":{"label":"creator (Z-A)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026sort=creator_sort+desc\u0026view=compact"}},{"type":"sort","id":"title_sort asc","attributes":{"label":"title (A-Z)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026sort=title_sort+asc\u0026view=compact"}},{"type":"sort","id":"title_sort desc","attributes":{"label":"title (Z-A)"},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=537\u0026sort=title_sort+desc\u0026view=compact"}}]}