{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=783\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=782\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=784\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Series\u0026page=856\u0026view=compact"},"meta":{"pages":{"current_page":783,"next_page":784,"prev_page":782,"total_pages":856,"limit_value":10,"offset_value":7820,"total_count":8556,"first_page?":false,"last_page?":false}},"data":[{"id":"a04ee2f29c834be99eea7a5b_aspace_24526","type":"Series","attributes":{"title":"The \"All New\" Atlantic Sun, 1991-1992","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/a04ee2f29c834be99eea7a5b_aspace_24526#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe title of FAU's first newspaper was resurrected and included in the staff listing as \"Get Hip to the ALL NEW Atlantic Sun.\" The newspaper was published by Atlantic Sun Production, Inc. 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Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"parent_access_terms_tesm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"scopecontent_html_tesm":["\u003cp\u003eThe title of FAU's first newspaper was resurrected and included in the staff listing as \"Get Hip to the ALL NEW Atlantic Sun.\" The newspaper was published by Atlantic Sun Production, Inc. 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Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","The collection is arranged in volume order. The item field represents the publication's issue number.  On some issues, there are a variety of publication conventions, such as: no printed issue number, words in place of issue number, or misnumbered print run.  For example, the phrase \"New Student Edition,\" \"Orientation,\" or \"Extra\" may appear instead of an issue number.  When permissible the finding aid best represents the information found on the front page.","In 2011, Leslie Siegel processed this collection.","The student newspapers at Florida Atlantic University document various events, politics, and opinions at FAU.  Overall there are seven different publishing histories: The Atlantic Sun (1964 - 1989),  Student Newspapers - Self Published (1969 - 1973), The Independent Atlantic Sun (1989 - 1991), \"All New\" Atlantic Sun (1991 - 1992), Free Press at Florida Atlantic University (1994 - 1995), The University Press at Florida Atlantic University (1996 - 1999), and The University Press (1999 - Active).","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections .","Florida Atlantic University Libraries","Florida Atlantic University","English"],"unitid_tesim":["UA00017","/repositories/2/resources/18"],"normalized_date_ssm":["1964 - 2017"],"normalized_title_ssm":["FAU Student Newspapers Collection, 1964 - 2017"],"collection_title_tesim":["FAU Student Newspapers Collection, 1964 - 2017"],"collection_ssim":["FAU Student Newspapers Collection, 1964 - 2017"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"access_terms_ssm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"access_subjects_ssim":["Boca Raton (Fla.) -- Newspapers","\tCollege student newspapers and periodicals -- Florida -- Boca Raton","Florida Atlantic University -- Students -- Periodicals","\tUniversities and colleges -- Florida -- Boca Raton -- Periodicals","University Archives","Florida Atlantic University -- History"],"access_subjects_ssm":["Boca Raton (Fla.) -- Newspapers","\tCollege student newspapers and periodicals -- Florida -- Boca Raton","Florida Atlantic University -- Students -- Periodicals","\tUniversities and colleges -- Florida -- Boca Raton -- Periodicals","University Archives","Florida Atlantic University -- History"],"has_online_content_ssim":["false"],"extent_ssm":["36.00 Linear Feet"],"extent_tesim":["36.00 Linear Feet"],"date_range_isim":[1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. 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Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in volume order. The item field represents the publication's issue number.\u0026#xA0; On some issues, there are a variety of publication conventions, such as: no printed issue number, words in place of issue number, or misnumbered print run.\u0026#xA0; For example, the phrase \"New Student Edition,\" \"Orientation,\" or \"Extra\" may appear instead of an issue number.\u0026#xA0; When permissible the finding aid best represents the information found on the front page.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is arranged in volume order. The item field represents the publication's issue number.  On some issues, there are a variety of publication conventions, such as: no printed issue number, words in place of issue number, or misnumbered print run.  For example, the phrase \"New Student Edition,\" \"Orientation,\" or \"Extra\" may appear instead of an issue number.  When permissible the finding aid best represents the information found on the front page."],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series; volume and issue number; University Archives; Florida Atlantic University Libraries, Boca Raton, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series; volume and issue number; University Archives; Florida Atlantic University Libraries, Boca Raton, Florida."],"processinfo_html_tesm":["\u003cp\u003eIn 2011, Leslie Siegel processed this collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2011, Leslie Siegel processed this collection."],"scopecontent_html_tesm":["\u003cp\u003eThe student newspapers at Florida Atlantic University document various events, politics, and opinions at FAU.\u0026#xA0; Overall there are seven different publishing histories: The Atlantic Sun (1964 - 1989),\u0026#xA0; Student Newspapers - Self Published (1969 - 1973), The Independent Atlantic Sun (1989 - 1991), \"All New\" Atlantic Sun (1991 - 1992), Free Press at Florida Atlantic University (1994 - 1995), The University Press at Florida Atlantic University (1996 - 1999), and The University Press (1999 - Active).\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The student newspapers at Florida Atlantic University document various events, politics, and opinions at FAU.  Overall there are seven different publishing histories: The Atlantic Sun (1964 - 1989),  Student Newspapers - Self Published (1969 - 1973), The Independent Atlantic Sun (1989 - 1991), \"All New\" Atlantic Sun (1991 - 1992), Free Press at Florida Atlantic University (1994 - 1995), The University Press at Florida Atlantic University (1996 - 1999), and The University Press (1999 - Active)."],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.\u003c/p\u003e\n","\u003cp\u003eWhen using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.\u003c/p\u003e\n","\u003cp\u003eShould the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact \u003ca href=\"mailto:lysca@fau.edu\"\u003eSpecial Collections\u003c/a\u003e.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"names_coll_ssim":["Florida Atlantic University"],"names_ssim":["Florida Atlantic University Libraries","Florida Atlantic University"],"corpname_ssim":["Florida Atlantic University Libraries","Florida Atlantic University"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1889,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870841933544292352,"_root_":"a04ee2f29c834be99eea7a5b","timestamp":"2026-07-16T03:51:41.966Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/a04ee2f29c834be99eea7a5b_aspace_24526"}},{"id":"1e210d3d5b491a8ea50fb53f_aspace_41087","type":"Series","attributes":{"title":"The Association to Preserve the Eatonville Community, Inc. (P.E.C)., 1991-2008.","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/1e210d3d5b491a8ea50fb53f_aspace_41087#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe second series is comprised of information related to the African-American community of Eatonville, specifically cultural programs, Sora Neale Hurston Festival programming, and information on the Association to Preserve the Eatonville Community, Inc. Materials are from 1991 to 2008.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1e210d3d5b491a8ea50fb53f_aspace_41087#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_41087","ref_ssm":["aspace_41087","aspace_41087"],"id":"1e210d3d5b491a8ea50fb53f_aspace_41087","title_filing_ssi":"The Association to Preserve the Eatonville Community, Inc. (P.E.C).","title_ssm":["The Association to Preserve the Eatonville Community, Inc. (P.E.C)."],"title_tesim":["The Association to Preserve the Eatonville Community, Inc. (P.E.C)."],"unitdate_other_ssim":["1991-2008."],"normalized_date_ssm":["1991-2008."],"normalized_title_ssm":["The Association to Preserve the Eatonville Community, Inc. (P.E.C)., 1991-2008."],"text":["The Association to Preserve the Eatonville Community, Inc. (P.E.C)., 1991-2008.","Collected Materials on the Zora Neale Hurston Festival, 1989-2017","2","/repositories/4/archival_objects/8500","The second series is comprised of information related to the African-American community of Eatonville, specifically cultural programs, Sora Neale Hurston Festival programming, and information on the Association to Preserve the Eatonville Community, Inc. 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Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"scopecontent_html_tesm":["\u003cp\u003eThe second series is comprised of information related to the African-American community of Eatonville, specifically cultural programs, Sora Neale Hurston Festival programming, and information on the Association to Preserve the Eatonville Community, Inc. Materials are from 1991 to 2008.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The second series is comprised of information related to the African-American community of Eatonville, specifically cultural programs, Sora Neale Hurston Festival programming, and information on the Association to Preserve the Eatonville Community, Inc. Materials are from 1991 to 2008."],"_nest_path_":"/components#1","_nest_parent_":"1e210d3d5b491a8ea50fb53f","_root_":"1e210d3d5b491a8ea50fb53f","_version_":1870857951396233216,"timestamp":"2026-07-16T08:06:17.890Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1e210d3d5b491a8ea50fb53f","title_ssm":["Collected Materials on the Zora Neale Hurston Festival"],"title_tesim":["Collected Materials on the Zora Neale Hurston Festival"],"ead_ssi":"1e210d3d5b491a8ea50fb53f","unitdate_ssm":["1989-2017"],"unitdate_inclusive_ssm":["1989-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.074","/repositories/4/resources/44"],"text":["SC.074","/repositories/4/resources/44","Collected Materials on the Zora Neale Hurston Festival, 1989-2017","Eatonville (Fla.)","African American women","The entire collection is open for research.","The collection is divided into two series, each organized chronologically and then alphabetically.","The Zora Neale Hurston Festival, also known as the Zora Neal Hurston Festival of the Arts and Humanities or the ZORA! Festival, is an annual multi-day event that takes place in Eatonville, Florida, and throughout Orange County in late January. Raised in Eatonville, Zora Neale Hurston contributed to the Harlem Renaissance as a writer, storyteller, anthropologist, and ethnographer. She wrote four novels and over fifty short stories, plays, and essays, including her most popular novel  Their Eyes Were Watching God  which was set in Eatonville. Since 1990, the festival has celebrated and honored the legacy of Hurston and other people of African ancestry who have made significant cultural contributions to the world through public talks, workshops, museum exhibitions, historical tours, stage performances, arts education programming, an academic humanities- based conference, and an outdoor festival. The festival is themed into five-year cycles with each year contributing towards the overarching theme. Numerous celebrity guest speakers have been featured at the festival including Alice Walker, Maya Angelou, Pearl Cleage, Danny Glover and Deborah Willis. ","The Zora Neale Hurston Festival is organized by the Association to Preserve the Eatonville Community (PEC), a historic preservation and arts organization led by N.Y. Nathiri. As of 2024, the festival's sponsors include Orange County Government through the Arts \u0026 Cultural Affairs Program, University of Central Florida, Florida Humanities, the town of Eatonville, Florida, Florida Division of Arts and Culture, and The World Conference of Mayors, Inc. The festival continues to operate and maintain its goals of perpetuating the memory and legacy of Zora Neale Hurston and preserving the Eatonville community.  ","Collection processed by Ryan Groves, Lindsay Mazziotto, and Courtney Toelle; finding aid prepared by Ryan Groves, Lindsay Mazziotto, and Courtney Toelle.\t ","University of Central Florida Libraries collected these materials in 2007.","The collection is divided into three series, each organized chronologically.","\nThe Zora Neale Hurston Festivals collected materials contain documents spanning the festivals inception in 1989 until 2017. The first series of documents primarily contain programs printed for each year's festival. While there is not a complete set, the collection currently contains programs from 1990 to 2017. The second series contains materials concerning the African American Community in Eatonville with a particular focus on cultural programming. The third series contains magazine articles, newspaper clippings, and brochures that illustrate the growing programs and projects of the Association to Preserve the Eatonville Community. These include student and teacher workshops, art exhibitions, and publications that resulted from the growing influence of Zora Neale Hurston's work.","Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.","The collection contains documents related to the festival bearing the name of the late poet, writer, anthropologist, and folklorist Zora Neale Hurston. Since 1990, the Zora Neale Hurston Festival has attracted individuals from across the country in academic and artistic disciplines wishing to celebrate Zora Neale Hurston and African American culture as a whole. The following folders contain the programs from festival years 1990 to 2017. In addition to its annual festival, the Association to Preserve Eatonville, Inc. has expanded its focus and community activities to inform and celebrate the life and work of Zora Neale Hurston and Eatonville.","UCF Special Collections","University of Central Florida. Library","Association to Preserve the Eatonville Community (Eatonville, Fla.)","Hurston, Zora Neale (1891-1960)","English"],"unitid_tesim":["SC.074","/repositories/4/resources/44"],"normalized_date_ssm":["1989-2017"],"normalized_title_ssm":["Collected Materials on the Zora Neale Hurston Festival, 1989-2017"],"collection_title_tesim":["Collected Materials on the Zora Neale Hurston Festival, 1989-2017"],"collection_ssim":["Collected Materials on the Zora Neale Hurston Festival, 1989-2017"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Eatonville (Fla.)"],"geogname_ssim":["Eatonville (Fla.)"],"creator_ssm":["University of Central Florida. 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Numerous celebrity guest speakers have been featured at the festival including Alice Walker, Maya Angelou, Pearl Cleage, Danny Glover and Deborah Willis. \u003c/p\u003e\n","\u003cp\u003eThe Zora Neale Hurston Festival is organized by the Association to Preserve the Eatonville Community (PEC), a historic preservation and arts organization led by N.Y. Nathiri. As of 2024, the festival's sponsors include Orange County Government through the Arts \u0026amp; Cultural Affairs Program, University of Central Florida, Florida Humanities, the town of Eatonville, Florida, Florida Division of Arts and Culture, and The World Conference of Mayors, Inc. The festival continues to operate and maintain its goals of perpetuating the memory and legacy of Zora Neale Hurston and preserving the Eatonville community.  \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Zora Neale Hurston Festival, also known as the Zora Neal Hurston Festival of the Arts and Humanities or the ZORA! Festival, is an annual multi-day event that takes place in Eatonville, Florida, and throughout Orange County in late January. Raised in Eatonville, Zora Neale Hurston contributed to the Harlem Renaissance as a writer, storyteller, anthropologist, and ethnographer. She wrote four novels and over fifty short stories, plays, and essays, including her most popular novel  Their Eyes Were Watching God  which was set in Eatonville. Since 1990, the festival has celebrated and honored the legacy of Hurston and other people of African ancestry who have made significant cultural contributions to the world through public talks, workshops, museum exhibitions, historical tours, stage performances, arts education programming, an academic humanities- based conference, and an outdoor festival. The festival is themed into five-year cycles with each year contributing towards the overarching theme. Numerous celebrity guest speakers have been featured at the festival including Alice Walker, Maya Angelou, Pearl Cleage, Danny Glover and Deborah Willis. ","The Zora Neale Hurston Festival is organized by the Association to Preserve the Eatonville Community (PEC), a historic preservation and arts organization led by N.Y. Nathiri. As of 2024, the festival's sponsors include Orange County Government through the Arts \u0026 Cultural Affairs Program, University of Central Florida, Florida Humanities, the town of Eatonville, Florida, Florida Division of Arts and Culture, and The World Conference of Mayors, Inc. The festival continues to operate and maintain its goals of perpetuating the memory and legacy of Zora Neale Hurston and preserving the Eatonville community.  "],"prefercite_html_tesm":["\u003cp\u003eCollected Materials on the Zora Neale Hurston Festival, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collected Materials on the Zora Neale Hurston Festival, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Ryan Groves, Lindsay Mazziotto, and Courtney Toelle; finding aid prepared by Ryan Groves, Lindsay Mazziotto, and Courtney Toelle.\t \u003c/p\u003e","\u003cp\u003eUniversity of Central Florida Libraries collected these materials in 2007.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Ryan Groves, Lindsay Mazziotto, and Courtney Toelle; finding aid prepared by Ryan Groves, Lindsay Mazziotto, and Courtney Toelle.\t ","University of Central Florida Libraries collected these materials in 2007."],"scopecontent_html_tesm":["\u003cp\u003eThe collection is divided into three series, each organized chronologically.\u003c/p\u003e\n","\u003cp\u003e\nThe Zora Neale Hurston Festivals collected materials contain documents spanning the festivals inception in 1989 until 2017. The first series of documents primarily contain programs printed for each year's festival. While there is not a complete set, the collection currently contains programs from 1990 to 2017. The second series contains materials concerning the African American Community in Eatonville with a particular focus on cultural programming. The third series contains magazine articles, newspaper clippings, and brochures that illustrate the growing programs and projects of the Association to Preserve the Eatonville Community. These include student and teacher workshops, art exhibitions, and publications that resulted from the growing influence of Zora Neale Hurston's work.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection is divided into three series, each organized chronologically.","\nThe Zora Neale Hurston Festivals collected materials contain documents spanning the festivals inception in 1989 until 2017. The first series of documents primarily contain programs printed for each year's festival. While there is not a complete set, the collection currently contains programs from 1990 to 2017. The second series contains materials concerning the African American Community in Eatonville with a particular focus on cultural programming. The third series contains magazine articles, newspaper clippings, and brochures that illustrate the growing programs and projects of the Association to Preserve the Eatonville Community. These include student and teacher workshops, art exhibitions, and publications that resulted from the growing influence of Zora Neale Hurston's work."],"userestrict_html_tesm":["\u003cp\u003eUnpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_574cb50e400f77b5ecb97515777b9ea3\" label=\"Abstract\"\u003eThe collection contains documents related to the festival bearing the name of the late poet, writer, anthropologist, and folklorist Zora Neale Hurston. Since 1990, the Zora Neale Hurston Festival has attracted individuals from across the country in academic and artistic disciplines wishing to celebrate Zora Neale Hurston and African American culture as a whole. The following folders contain the programs from festival years 1990 to 2017. In addition to its annual festival, the Association to Preserve Eatonville, Inc. has expanded its focus and community activities to inform and celebrate the life and work of Zora Neale Hurston and Eatonville.\u003c/abstract\u003e"],"abstract_tesim":["The collection contains documents related to the festival bearing the name of the late poet, writer, anthropologist, and folklorist Zora Neale Hurston. Since 1990, the Zora Neale Hurston Festival has attracted individuals from across the country in academic and artistic disciplines wishing to celebrate Zora Neale Hurston and African American culture as a whole. The following folders contain the programs from festival years 1990 to 2017. In addition to its annual festival, the Association to Preserve Eatonville, Inc. has expanded its focus and community activities to inform and celebrate the life and work of Zora Neale Hurston and Eatonville."],"names_coll_ssim":["Association to Preserve the Eatonville Community (Eatonville, Fla.)","Hurston, Zora Neale (1891-1960)"],"names_ssim":["UCF Special Collections","University of Central Florida. Library","Association to Preserve the Eatonville Community (Eatonville, Fla.)","Hurston, Zora Neale (1891-1960)"],"corpname_ssim":["UCF Special Collections","University of Central Florida. Library","Association to Preserve the Eatonville Community (Eatonville, Fla.)"],"persname_ssim":["Hurston, Zora Neale (1891-1960)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":59,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857951396233216,"_root_":"1e210d3d5b491a8ea50fb53f","timestamp":"2026-07-16T08:06:17.890Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1e210d3d5b491a8ea50fb53f_aspace_41087"}},{"id":"735bec4a462886318646d79a_aspace_20499","type":"Series","attributes":{"title":"Theater and Music Programs","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/735bec4a462886318646d79a_aspace_20499#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_20499","ref_ssm":["aspace_20499","aspace_20499"],"id":"735bec4a462886318646d79a_aspace_20499","title_filing_ssi":"Theater and Music Programs","title_ssm":["Theater and Music Programs"],"title_tesim":["Theater and Music Programs"],"normalized_title_ssm":["Theater and Music Programs"],"text":["Theater and Music Programs","Theater and Music programs and ephemera collection, 1876-1958, bulk 1925-1940","Series 1","/repositories/2/archival_objects/53217"],"component_level_isim":[1],"parent_ids_ssim":["735bec4a462886318646d79a"],"parent_unittitles_ssm":["Theater and Music programs and ephemera collection, 1876-1958, bulk 1925-1940"],"parent_unittitles_tesim":["Theater and Music programs and ephemera collection, 1876-1958, bulk 1925-1940"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 1","/repositories/2/archival_objects/53217"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Theater and Music programs and ephemera collection, 1876-1958, bulk 1925-1940"],"has_online_content_ssim":["false"],"child_component_count_isi":2,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"_nest_path_":"/components#0","_nest_parent_":"735bec4a462886318646d79a","_root_":"735bec4a462886318646d79a","_version_":1881194199242506240,"timestamp":"2026-11-07T10:16:31.986Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"735bec4a462886318646d79a","title_ssm":["Theater and Music programs and ephemera collection"],"title_tesim":["Theater and Music programs and ephemera collection"],"ead_ssi":"735bec4a462886318646d79a","unitdate_ssm":["1876-1958","1925-1940"],"unitdate_bulk_ssim":["1925-1940"],"unitdate_inclusive_ssm":["1876-1958"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2010-14","/repositories/2/resources/332"],"text":["MS-2010-14","/repositories/2/resources/332","Theater and Music programs and ephemera collection, 1876-1958, bulk 1925-1940","Playbills -- Florida -- Tampa","Playbills -- Massachusetts -- Boston","Playbills -- New York (State) -- New York","Playbills -- United Kingdom -- London","Playbills -- Maryland -- Baltimore","Playbills -- Washington, D.C.","Theater programs","Theater programs are arranged alphabetically by name of theater, with programs for the same theater listed chronologically.","The collection consists of theater programs, press clippings, flyers, and other ephemera documenting the theater scene of New York City and, to a lesser extent, Tampa, Florida during the 1930s to 1940s. The collection also includes an assortment of playbills, flyers, circulars, and picturization books, in addition to a photoplay book, theater makeup tip pamphlets, a scrapbook, songbook, and company souvenir books.","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-2010-14","/repositories/2/resources/332"],"normalized_date_ssm":["1876-1958, bulk 1925-1940"],"normalized_title_ssm":["Theater and Music programs and ephemera collection, 1876-1958, bulk 1925-1940"],"collection_title_tesim":["Theater and Music programs and ephemera collection, 1876-1958, bulk 1925-1940"],"collection_ssim":["Theater and Music programs and ephemera collection, 1876-1958, bulk 1925-1940"],"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."],"access_subjects_ssim":["Playbills -- Florida -- Tampa","Playbills -- Massachusetts -- Boston","Playbills -- New York (State) -- New York","Playbills -- United Kingdom -- London","Playbills -- Maryland -- Baltimore","Playbills -- Washington, D.C.","Theater programs"],"access_subjects_ssm":["Playbills -- Florida -- Tampa","Playbills -- Massachusetts -- Boston","Playbills -- New York (State) -- New York","Playbills -- United Kingdom -- London","Playbills -- Maryland -- Baltimore","Playbills -- Washington, D.C.","Theater programs"],"has_online_content_ssim":["false"],"extent_ssm":["1.67 Linear Feet","5 boxes"],"extent_tesim":["1.67 Linear Feet","5 boxes"],"genreform_ssim":["Playbills -- Florida -- Tampa","Playbills -- Massachusetts -- Boston","Playbills -- New York (State) -- New York","Playbills -- United Kingdom -- London","Playbills -- Maryland -- Baltimore","Playbills -- Washington, D.C.","Theater programs"],"date_range_isim":[1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958],"arrangement_html_tesm":["\u003cp\u003eTheater programs are arranged alphabetically by name of theater, with programs for the same theater listed chronologically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Theater programs are arranged alphabetically by name of theater, with programs for the same theater listed chronologically."],"prefercite_html_tesm":["\u003cp\u003eTheater Programs and Ephemera Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Theater Programs and Ephemera Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of theater programs, press clippings, flyers, and other ephemera documenting the theater scene of New York City and, to a lesser extent, Tampa, Florida during the 1930s to 1940s. The collection also includes an assortment of playbills, flyers, circulars, and picturization books, in addition to a photoplay book, theater makeup tip pamphlets, a scrapbook, songbook, and company souvenir books.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection consists of theater programs, press clippings, flyers, and other ephemera documenting the theater scene of New York City and, to a lesser extent, Tampa, Florida during the 1930s to 1940s. The collection also includes an assortment of playbills, flyers, circulars, and picturization books, in addition to a photoplay book, theater makeup tip pamphlets, a scrapbook, songbook, and company souvenir books."],"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":151,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1881194199242506240,"_root_":"735bec4a462886318646d79a","timestamp":"2026-11-07T10:16:31.986Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/735bec4a462886318646d79a_aspace_20499"}},{"id":"45807c67f367973431520ee3_aspace_5f7b395fe6117dcc367e6299736abec2","type":"Series","attributes":{"title":"Theaters, 1920","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/45807c67f367973431520ee3_aspace_5f7b395fe6117dcc367e6299736abec2#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_5f7b395fe6117dcc367e6299736abec2","ref_ssm":["aspace_5f7b395fe6117dcc367e6299736abec2","aspace_5f7b395fe6117dcc367e6299736abec2"],"id":"45807c67f367973431520ee3_aspace_5f7b395fe6117dcc367e6299736abec2","title_filing_ssi":"Theaters","title_ssm":["Theaters"],"title_tesim":["Theaters"],"unitdate_other_ssim":["1920"],"normalized_date_ssm":["1920"],"normalized_title_ssm":["Theaters, 1920"],"text":["Theaters, 1920","Northeast Florida Regional Postcard Collection, 1858-2019","/repositories/3/archival_objects/9683","box 3","folder 4"],"component_level_isim":[1],"parent_ids_ssim":["45807c67f367973431520ee3"],"parent_unittitles_ssm":["Northeast Florida Regional Postcard Collection, 1858-2019"],"parent_unittitles_tesim":["Northeast Florida Regional Postcard Collection, 1858-2019"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/3/archival_objects/9683"],"repository_ssim":["UNF Library Special Collections and University Archives"],"collection_ssim":["Northeast Florida Regional Postcard Collection, 1858-2019"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":57,"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":[1920],"containers_ssim":["box 3","folder 4"],"_nest_path_":"/components#56","_nest_parent_":"45807c67f367973431520ee3","_root_":"45807c67f367973431520ee3","_version_":1872853597225484288,"timestamp":"2026-08-07T08:46:14.061Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"45807c67f367973431520ee3","title_ssm":["Northeast Florida Regional Postcard Collection"],"title_tesim":["Northeast Florida Regional Postcard Collection"],"ead_ssi":"45807c67f367973431520ee3","unitdate_ssm":["1858-2019"],"unitdate_inclusive_ssm":["1858-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["2024.001","/repositories/3/resources/82"],"text":["2024.001","/repositories/3/resources/82","Northeast Florida Regional Postcard Collection, 1858-2019","The collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment.","\tIn the United States, the traditional picture postcard rose to popularity in the early 20th century. Postcard history is often divided into eight distinct \"eras\" beginning in the 1850s and continuing through the \"Golden Age of Postcards\" beginning around 1905 and lasting through 1915. In this golden age, millions of cards were printed and sold throughout the entire U.S. and collecting cards became a popular hobby. The Northeast Florida Regional Postcard Collection contains examples from many of the documented eras, including photographic cards popularized in the nineteen teens and twenties. ","\nAdvances in printing and photographic techniques along with faster shipping methods between the U.S. and Europe allowed for the mass production of brightly colored pictorial cards to be quickly manufactured and distributed to sellers. In addition to the printers in major U.S. cities, a network of publishers and photographers allowed many local businesses in small towns across the U.S. to commission postcards of local \"views\" that were cheaply printed in Germany. Many images of small-town life, including municipal architecture, private residences, and street scenes were preserved and are a useful tool for local historians and researchers. These views act as a \"visual record of a town\" and help develop a fuller understanding of the locations represented in the postcards. Additionally, postcards depicted natural disasters, fires, local amusements, and tourist attractions and were important to the souvenir trade of the time.  ","\nAt the height of the industry's popularity, publishers would often share or even steal negatives to create their own postcards and often would change or distort the negative to make them appear different from other printers. Misspellings were common and incorrectly captioned cards were also prevalent. The Northeast Florida Regional Postcard collection has several examples of this business tactic and many examples of misspellings in the captions or titles on the cards. ","\nEnthusiasm for postcard collecting began to wane around 1912 and ended with the start of World War I. Even though the initial craze for postcards diminished, they are still produced and continue to be a useful visual record for researchers and historians of the late 19th and early 20th centuries. The Northeast Florida Regional Postcard Collection supports many of our Florida ephemera or Floridiana collections and is a great resource for the visual history of Jacksonville, St. Augustine, and the other towns of Northeast Florida. ","Sources:\n New York State Library Postcard Collection-Appendix C","Greetings from the Smithsonian: A Postcard History","This collection contains postcards related to Northeast Florida's agricultural, shipping, manufacturing, and tourism industries and is part of a larger ephemera collection related to region. The collection was donated over several years by UNF library staff. Postcards range in date from the late 19th century through the late 20th century, with the bulk dates falling between 1900 and 1950. The collection is arranged alphabetically by series and chronologically within each series. \nSeries in this collection include the following:","Series 1- Advertising Cards (arranged chronologically) contains business advertisement cards from Northeast Florida business and organizations.","Series 2- Agriculture (arranged chronologically) contains postcards depicting the agricultural industry in Northeast Florida","Series 3- Airports (arranged chronologically) contains postcards depicting Jacksonville International Airport and local municipal airports in Northeast Florida.","Series 4- Alligator Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the Alligator farm, an early 20th century tourist attraction in Jacksonville, Florida.","Series 5- Atlantic Beach, Florida (arranged chronologically) contains postcards depicting panoramic views of Atlantic Beach, local hotels, and other tourist attractions.","Series 6- Atlantic Intracoastal Waterway (arranged chronologically) contains postcards depicting steamer ships owned by the Clyde Line, commercial shipping docks, and views of the intracoastal waterway.","Series 7- Bank Buildings (arranged chronologically) contains postcards depicting the Florida National Bank, Atlantic National Bank, Barnett First National Bank, and other local Northeast Florida Bank buildings.","Series 8- Bridges (arranged chronologically) contains postcards depicting local Jacksonville, Florida bridges, including the Fuller Warren Bridge, Main Street Bridge, Matthews Bridge, Napolean Bonaparte Broward Bridge, and Hart Bridge.","Series 9- Buildings (arranged chronologically) contains postcards depicting buildings in downtown Jacksonville, including structures of architectural significance like the St. James Building and the Shriners Temple.","Series 10- Church Buildings (arranged chronologically) contains postcards depicting churches of different denominations, including Catholic, Baptist, Methodist, and Episcopal, in the Northeast Florida area.","Series 11- Clubs (arranged chronologically) contains postcards depicting Jacksonville area athletic and social clubs. Examples include the Seminole Club, Fort George Club, Masonic Temple, and San Jose Golf Club.","Series 12- Cumberland Island, Georgia (arranged chronologically) contains postcards depicting Thomas M. Carnegie's home, Dungeness. ","Series 13- Dixieland Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting early 20th century tourist attraction on the Southbank of Jacksonville. ","Series 14- Docks and Shipping (arranged chronologically) contains postcards depicting scenes of commercial shipping docks and steamer ships on the St Johns River in downtown Jacksonville. ","Series 15- Dwellings (arranged chronologically) contains postcards depicting private residences in the Riverside, Springfield, Mandarin, and Ortega neighborhoods of Jacksonville. ","Series 16- Epping Forest; Jacksonville, Florida (arranged chronologically) contains postcards depicting the mansion of Alfred I. du Pont, now the Epping Forest Yacht Club.","Series 17- Eustis, Florida (arranged chronologically) contains postcards depicting photographic postcard taken in Eustis, Florida.","Series 18- Fernandina Beach, Florida (arranged chronologically) contains postcards depicting businesses, municipal buildings, hotels, private residences, and beach scenes.","Series 19- Florida Ostrich Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting tourist attraction popular in the early 20th century, with scenes of the farm with birds and ostriches racing. ","Series 20- Fort Clinch State Park, Florida (arranged chronologically) contains postcards depicting structures and ruins of the Civil War fort near Amelia Island and Fernandina Beach.","Series 21- Friendship Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting Friendship fountain and the downtown Jacksonville skyline across from the park located on the Southbank. ","Series 22- Gardens (arranged chronologically) contains postcards depicting scenes of plants native to Northeast Florida and Cummer Museum and Gardens. ","Series 23- General (arranged chronologically) contains postcards depicting a variety of scenes of locations in Jacksonville, cards printed by local printer H\u0026WB Drew Company, and cards addressed to Jacksonville addresses.","Series 24- Green Cove Springs, Florida (arranged chronologically) contains postcards depicting Springs, the bathing pavilion, and the Qui-Si-Sana Hotel and Health Spa. ","Series 25- Hemming Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting the grounds and businesses surrounding the park, known today as James Weldon Johnson Park. ","Series 26- Highways (arranged chronologically) contains postcards depicting several multi-lane highways and expressways in Jacksonville. ","Series 27- Hilliard, Florida (arranged chronologically) contains postcards depicting a hotel located in Hilliard, Florida near the Florida/Georgia Border. ","Series 28- Hospitals (arranged chronologically) contains postcards depicting Jacksonville area hospitals, including St. Vincent's Hospital, De Soto Sanatorium, St. Luke's Hospital, and Brewster Hospital. ","Series 29- Hotels (arranged chronologically) contains postcards depicting Jacksonville area hotels, including Hotel Burbridge, Hotel Roosevelt, Aragon Hotel, and Windsor Hotel. ","Series 30- Jacksonville Beach, Florida (arranged chronologically) contains postcards depicting scenes of local businesses, hotels, restaurants, and beaches.","Series 31- Keystone Heights, Florida (arranged chronologically) contains postcards depicting a hotel in Keystone Heights, Florida. ","Series 32- Kingsley Plantation; Fort George Island, Florida (arranged chronologically) contains postcards depicting National Park Kingsley Plantation on Fort George Island. ","Series 33- Library Buildings (arranged chronologically) contains postcards depicting the exteriors of Jacksonville area public library buildings.","Series 34- Marineland, Florida (arranged chronologically) contains postcards depicting aerial views of Marineland Studios, dolphins, and businesses at the historic tourist attraction. ","Series 35- Military Bases (arranged chronologically) contains photographic postcards depicting Camp Foster, founded as a work camp during the Great Depression, Camp Blanding Army Camp, and Camp Joseph E. Johnston.","Series 36- Mining (arranged chronologically) contains postcards depicting phosphate mining in Florida. ","Series 37- Monuments (arranged chronologically) contains postcards depicting monuments in the Jacksonville area.","Series 38- Motels (arranged chronologically) contains postcards depicting mid-20th century tourist motels in the Jacksonville area along U.S. Highway 1.","Series 39- Museums (arranged chronologically) contains postcards depicting artwork from the collections of the Cummer Museum in the Riverside neighborhood of Jacksonville, Florida. ","Series 40- Naval Air Station; Jacksonville, Florida (arranged chronologically) contains postcards depicting structures at Mayport, Cecil Field, and Jacksonville Naval Air stations. ","Series 41- Neptune Beach, Florida (arranged chronologically) contains postcards depicting scenes of beach front at Neptune Beach.","Series 42- Orange Park, Florida (arranged chronologically) contains postcards depicting structures at Moosehaven Retirement Community located in Orange Park, Florida on the St. Johns River. ","Series 43- Oriental Gardens; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the former tourist attraction located on San Jose Boulevard.","Series 44- Parks (arranged chronologically) contains postcards depicting historic images of parks in various Jacksonville neighborhoods, including Riverside and Springfield parks. ","Series 45- Persons (arranged chronologically) contains photographic postcards depicting portraits of visitors to Jacksonville. ","Series 46- Ponte Vedra Beach, Florida (arranged chronologically) contains postcards depicting views of structures on the Ponte Vedra Inn and Club.","Series 47- Post Office Building (arranged chronologically) contains postcards depicting early 20th century Federal Post Office in downtown Jacksonville. ","Series 48- Public Buildings (arranged chronologically) contains postcards depicting various municipal buildings including the original Duval County Courthouse, The Armory, and the Civic Auditorium of Jacksonville. ","Series 49- Restaurants (arranged chronologically) contains postcards depicting Jacksonville area restaurants.","Series 50- St. Augustine, Florida (arranged chronologically) contains postcards depicting businesses, tourist attractions, and historic sites in St. Augustine, Florida","Series 51- St. Johns River, Florida (arranged chronologically) contains postcards depicting scenes from the St. Johns River, ","Series 52- Sanford, Florida (arranged chronologically) contains postcards depicting a steamer ship in Sanford, Florida.","Series 53- Schools (arranged chronologically) contains postcards depicting school buildings in the Jacksonville area including Central Grammar School, Duval High School, Edward Waters College.","Series 54- Silver Springs, Florida (arranged chronologically) contains postcards depicting a scene of glass-bottom boats at the springs. ","Series 55- Souvenir Postcard Booklets (arranged chronologically) contains multi-postcard booklets depicting scenes from Northeast Florida.","Series 56- Streets (arranged chronologically) contains postcards depicting street views in downtown Jacksonville, and the Riverside and Springfield neighborhoods. ","Series 57- Theaters (arranged chronologically) contains postcards depicting the Palace and New Palace theaters.","Series 58- Trailer Camps (arranged chronologically) contains postcards depicting scenes of tourist trailer campgrounds near Jacksonville. ","Series 59- Trees (arranged chronologically) contains postcards depicting various species of trees native to Northeast Florida and the famous Treaty Oak live oak tree located in Jesse Ball duPont Park. ","Series 60- Turpentine Industry (arranged chronologically) contains postcards depicting scenes of turpentine camps in Northeast Florida.","Series 61- Union Station (arranged chronologically) contains postcards depicting various scenes of the historic Union Station in Downtown Jacksonville, now the Prime F. Osborn III Convention Center.","Series 62- Universities and Colleges (arranged chronologically) contains postcards depicting Jacksonville University, University of North Florida, and Edward Waters College campuses. ","Series 63- Viaducts/Trains (arranged chronologically) contains postcards depicting railroad viaducts and close-up depictions of train engines. ","Series 64- Waterfronts (arranged chronologically) contains postcards depicting various views of the Jacksonville skyline as seen from the St. Johns River. ","Series 65- Waterworks; Jacksonville, Florida (arranged chronologically) contains postcards depicting the historic waterworks located in the Springfield neighborhood of Jacksonville. ","Series 66- Zoos (arranged chronologically) contains postcards depicting views from the Jacksonville Zoo during the early and mid-20th century. ","Series 67- Sensitive Content (arranged chronologically) contains postcards depicting content that may be harmful or distressing to viewers. These items are available to review in person only.","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":["2024.001","/repositories/3/resources/82"],"normalized_date_ssm":["1858-2019"],"normalized_title_ssm":["Northeast Florida Regional Postcard Collection, 1858-2019"],"collection_title_tesim":["Northeast Florida Regional Postcard Collection, 1858-2019"],"collection_ssim":["Northeast Florida Regional Postcard Collection, 1858-2019"],"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."],"has_online_content_ssim":["false"],"extent_ssm":["1.92 Linear Feet"],"extent_tesim":["1.92 Linear Feet"],"date_range_isim":[1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"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\u003e\tIn the United States, the traditional picture postcard rose to popularity in the early 20th century. Postcard history is often divided into eight distinct \"eras\" beginning in the 1850s and continuing through the \"Golden Age of Postcards\" beginning around 1905 and lasting through 1915. In this golden age, millions of cards were printed and sold throughout the entire U.S. and collecting cards became a popular hobby. The Northeast Florida Regional Postcard Collection contains examples from many of the documented eras, including photographic cards popularized in the nineteen teens and twenties. \u003c/p\u003e\n","\u003cp\u003e\nAdvances in printing and photographic techniques along with faster shipping methods between the U.S. and Europe allowed for the mass production of brightly colored pictorial cards to be quickly manufactured and distributed to sellers. In addition to the printers in major U.S. cities, a network of publishers and photographers allowed many local businesses in small towns across the U.S. to commission postcards of local \"views\" that were cheaply printed in Germany. Many images of small-town life, including municipal architecture, private residences, and street scenes were preserved and are a useful tool for local historians and researchers. These views act as a \"visual record of a town\" and help develop a fuller understanding of the locations represented in the postcards. Additionally, postcards depicted natural disasters, fires, local amusements, and tourist attractions and were important to the souvenir trade of the time.  \u003c/p\u003e\n","\u003cp\u003e\nAt the height of the industry's popularity, publishers would often share or even steal negatives to create their own postcards and often would change or distort the negative to make them appear different from other printers. Misspellings were common and incorrectly captioned cards were also prevalent. The Northeast Florida Regional Postcard collection has several examples of this business tactic and many examples of misspellings in the captions or titles on the cards. \u003c/p\u003e\n","\u003cp\u003e\nEnthusiasm for postcard collecting began to wane around 1912 and ended with the start of World War I. Even though the initial craze for postcards diminished, they are still produced and continue to be a useful visual record for researchers and historians of the late 19th and early 20th centuries. The Northeast Florida Regional Postcard Collection supports many of our Florida ephemera or Floridiana collections and is a great resource for the visual history of Jacksonville, St. Augustine, and the other towns of Northeast Florida. \u003c/p\u003e\n","\u003cp\u003eSources:\n\u003cextref href=\"https://www.nysl.nysed.gov/msscfa/qc16510ess.htm\"\u003eNew York State Library Postcard Collection-Appendix C\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref href=\"https://siarchives.si.edu/history/featured-topics/postcard/postcard-history\"\u003eGreetings from the Smithsonian: A Postcard History\u003c/extref\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\tIn the United States, the traditional picture postcard rose to popularity in the early 20th century. Postcard history is often divided into eight distinct \"eras\" beginning in the 1850s and continuing through the \"Golden Age of Postcards\" beginning around 1905 and lasting through 1915. In this golden age, millions of cards were printed and sold throughout the entire U.S. and collecting cards became a popular hobby. The Northeast Florida Regional Postcard Collection contains examples from many of the documented eras, including photographic cards popularized in the nineteen teens and twenties. ","\nAdvances in printing and photographic techniques along with faster shipping methods between the U.S. and Europe allowed for the mass production of brightly colored pictorial cards to be quickly manufactured and distributed to sellers. In addition to the printers in major U.S. cities, a network of publishers and photographers allowed many local businesses in small towns across the U.S. to commission postcards of local \"views\" that were cheaply printed in Germany. Many images of small-town life, including municipal architecture, private residences, and street scenes were preserved and are a useful tool for local historians and researchers. These views act as a \"visual record of a town\" and help develop a fuller understanding of the locations represented in the postcards. Additionally, postcards depicted natural disasters, fires, local amusements, and tourist attractions and were important to the souvenir trade of the time.  ","\nAt the height of the industry's popularity, publishers would often share or even steal negatives to create their own postcards and often would change or distort the negative to make them appear different from other printers. Misspellings were common and incorrectly captioned cards were also prevalent. The Northeast Florida Regional Postcard collection has several examples of this business tactic and many examples of misspellings in the captions or titles on the cards. ","\nEnthusiasm for postcard collecting began to wane around 1912 and ended with the start of World War I. Even though the initial craze for postcards diminished, they are still produced and continue to be a useful visual record for researchers and historians of the late 19th and early 20th centuries. The Northeast Florida Regional Postcard Collection supports many of our Florida ephemera or Floridiana collections and is a great resource for the visual history of Jacksonville, St. Augustine, and the other towns of Northeast Florida. ","Sources:\n New York State Library Postcard Collection-Appendix C","Greetings from the Smithsonian: A Postcard History"],"prefercite_html_tesm":["\u003cp\u003eNortheast Florida Regional Postcard Collection, Thomas G. Carpenter Library, University of North Florida, Jacksonville, Florida.\u003c/p\u003e"],"prefercite_tesim":["Northeast Florida Regional Postcard Collection, Thomas G. Carpenter Library, University of North Florida, Jacksonville, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains postcards related to Northeast Florida's agricultural, shipping, manufacturing, and tourism industries and is part of a larger ephemera collection related to region. The collection was donated over several years by UNF library staff. Postcards range in date from the late 19th century through the late 20th century, with the bulk dates falling between 1900 and 1950. The collection is arranged alphabetically by series and chronologically within each series. \nSeries in this collection include the following:\u003c/p\u003e\n","\u003cp\u003eSeries 1- Advertising Cards (arranged chronologically) contains business advertisement cards from Northeast Florida business and organizations.\u003c/p\u003e\n","\u003cp\u003eSeries 2- Agriculture (arranged chronologically) contains postcards depicting the agricultural industry in Northeast Florida\u003c/p\u003e\n","\u003cp\u003eSeries 3- Airports (arranged chronologically) contains postcards depicting Jacksonville International Airport and local municipal airports in Northeast Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 4- Alligator Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the Alligator farm, an early 20th century tourist attraction in Jacksonville, Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 5- Atlantic Beach, Florida (arranged chronologically) contains postcards depicting panoramic views of Atlantic Beach, local hotels, and other tourist attractions.\u003c/p\u003e\n","\u003cp\u003eSeries 6- Atlantic Intracoastal Waterway (arranged chronologically) contains postcards depicting steamer ships owned by the Clyde Line, commercial shipping docks, and views of the intracoastal waterway.\u003c/p\u003e\n","\u003cp\u003eSeries 7- Bank Buildings (arranged chronologically) contains postcards depicting the Florida National Bank, Atlantic National Bank, Barnett First National Bank, and other local Northeast Florida Bank buildings.\u003c/p\u003e\n","\u003cp\u003eSeries 8- Bridges (arranged chronologically) contains postcards depicting local Jacksonville, Florida bridges, including the Fuller Warren Bridge, Main Street Bridge, Matthews Bridge, Napolean Bonaparte Broward Bridge, and Hart Bridge.\u003c/p\u003e\n","\u003cp\u003eSeries 9- Buildings (arranged chronologically) contains postcards depicting buildings in downtown Jacksonville, including structures of architectural significance like the St. James Building and the Shriners Temple.\u003c/p\u003e\n","\u003cp\u003eSeries 10- Church Buildings (arranged chronologically) contains postcards depicting churches of different denominations, including Catholic, Baptist, Methodist, and Episcopal, in the Northeast Florida area.\u003c/p\u003e\n","\u003cp\u003eSeries 11- Clubs (arranged chronologically) contains postcards depicting Jacksonville area athletic and social clubs. Examples include the Seminole Club, Fort George Club, Masonic Temple, and San Jose Golf Club.\u003c/p\u003e\n","\u003cp\u003eSeries 12- Cumberland Island, Georgia (arranged chronologically) contains postcards depicting Thomas M. Carnegie's home, Dungeness. \u003c/p\u003e\n","\u003cp\u003eSeries 13- Dixieland Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting early 20th century tourist attraction on the Southbank of Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 14- Docks and Shipping (arranged chronologically) contains postcards depicting scenes of commercial shipping docks and steamer ships on the St Johns River in downtown Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 15- Dwellings (arranged chronologically) contains postcards depicting private residences in the Riverside, Springfield, Mandarin, and Ortega neighborhoods of Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 16- Epping Forest; Jacksonville, Florida (arranged chronologically) contains postcards depicting the mansion of Alfred I. du Pont, now the Epping Forest Yacht Club.\u003c/p\u003e\n","\u003cp\u003eSeries 17- Eustis, Florida (arranged chronologically) contains postcards depicting photographic postcard taken in Eustis, Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 18- Fernandina Beach, Florida (arranged chronologically) contains postcards depicting businesses, municipal buildings, hotels, private residences, and beach scenes.\u003c/p\u003e\n","\u003cp\u003eSeries 19- Florida Ostrich Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting tourist attraction popular in the early 20th century, with scenes of the farm with birds and ostriches racing. \u003c/p\u003e\n","\u003cp\u003eSeries 20- Fort Clinch State Park, Florida (arranged chronologically) contains postcards depicting structures and ruins of the Civil War fort near Amelia Island and Fernandina Beach.\u003c/p\u003e\n","\u003cp\u003eSeries 21- Friendship Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting Friendship fountain and the downtown Jacksonville skyline across from the park located on the Southbank. \u003c/p\u003e\n","\u003cp\u003eSeries 22- Gardens (arranged chronologically) contains postcards depicting scenes of plants native to Northeast Florida and Cummer Museum and Gardens. \u003c/p\u003e\n","\u003cp\u003eSeries 23- General (arranged chronologically) contains postcards depicting a variety of scenes of locations in Jacksonville, cards printed by local printer H\u0026amp;WB Drew Company, and cards addressed to Jacksonville addresses.\u003c/p\u003e\n","\u003cp\u003eSeries 24- Green Cove Springs, Florida (arranged chronologically) contains postcards depicting Springs, the bathing pavilion, and the Qui-Si-Sana Hotel and Health Spa. \u003c/p\u003e\n","\u003cp\u003eSeries 25- Hemming Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting the grounds and businesses surrounding the park, known today as James Weldon Johnson Park. \u003c/p\u003e\n","\u003cp\u003eSeries 26- Highways (arranged chronologically) contains postcards depicting several multi-lane highways and expressways in Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 27- Hilliard, Florida (arranged chronologically) contains postcards depicting a hotel located in Hilliard, Florida near the Florida/Georgia Border. \u003c/p\u003e\n","\u003cp\u003eSeries 28- Hospitals (arranged chronologically) contains postcards depicting Jacksonville area hospitals, including St. Vincent's Hospital, De Soto Sanatorium, St. Luke's Hospital, and Brewster Hospital. \u003c/p\u003e\n","\u003cp\u003eSeries 29- Hotels (arranged chronologically) contains postcards depicting Jacksonville area hotels, including Hotel Burbridge, Hotel Roosevelt, Aragon Hotel, and Windsor Hotel. \u003c/p\u003e\n","\u003cp\u003eSeries 30- Jacksonville Beach, Florida (arranged chronologically) contains postcards depicting scenes of local businesses, hotels, restaurants, and beaches.\u003c/p\u003e\n","\u003cp\u003eSeries 31- Keystone Heights, Florida (arranged chronologically) contains postcards depicting a hotel in Keystone Heights, Florida. \u003c/p\u003e\n","\u003cp\u003eSeries 32- Kingsley Plantation; Fort George Island, Florida (arranged chronologically) contains postcards depicting National Park Kingsley Plantation on Fort George Island. \u003c/p\u003e\n","\u003cp\u003eSeries 33- Library Buildings (arranged chronologically) contains postcards depicting the exteriors of Jacksonville area public library buildings.\u003c/p\u003e\n","\u003cp\u003eSeries 34- Marineland, Florida (arranged chronologically) contains postcards depicting aerial views of Marineland Studios, dolphins, and businesses at the historic tourist attraction. \u003c/p\u003e\n","\u003cp\u003eSeries 35- Military Bases (arranged chronologically) contains photographic postcards depicting Camp Foster, founded as a work camp during the Great Depression, Camp Blanding Army Camp, and Camp Joseph E. Johnston.\u003c/p\u003e\n","\u003cp\u003eSeries 36- Mining (arranged chronologically) contains postcards depicting phosphate mining in Florida. \u003c/p\u003e\n","\u003cp\u003eSeries 37- Monuments (arranged chronologically) contains postcards depicting monuments in the Jacksonville area.\u003c/p\u003e\n","\u003cp\u003eSeries 38- Motels (arranged chronologically) contains postcards depicting mid-20th century tourist motels in the Jacksonville area along U.S. Highway 1.\u003c/p\u003e\n","\u003cp\u003eSeries 39- Museums (arranged chronologically) contains postcards depicting artwork from the collections of the Cummer Museum in the Riverside neighborhood of Jacksonville, Florida. \u003c/p\u003e\n","\u003cp\u003eSeries 40- Naval Air Station; Jacksonville, Florida (arranged chronologically) contains postcards depicting structures at Mayport, Cecil Field, and Jacksonville Naval Air stations. \u003c/p\u003e\n","\u003cp\u003eSeries 41- Neptune Beach, Florida (arranged chronologically) contains postcards depicting scenes of beach front at Neptune Beach.\u003c/p\u003e\n","\u003cp\u003eSeries 42- Orange Park, Florida (arranged chronologically) contains postcards depicting structures at Moosehaven Retirement Community located in Orange Park, Florida on the St. Johns River. \u003c/p\u003e\n","\u003cp\u003eSeries 43- Oriental Gardens; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the former tourist attraction located on San Jose Boulevard.\u003c/p\u003e\n","\u003cp\u003eSeries 44- Parks (arranged chronologically) contains postcards depicting historic images of parks in various Jacksonville neighborhoods, including Riverside and Springfield parks. \u003c/p\u003e\n","\u003cp\u003eSeries 45- Persons (arranged chronologically) contains photographic postcards depicting portraits of visitors to Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 46- Ponte Vedra Beach, Florida (arranged chronologically) contains postcards depicting views of structures on the Ponte Vedra Inn and Club.\u003c/p\u003e\n","\u003cp\u003eSeries 47- Post Office Building (arranged chronologically) contains postcards depicting early 20th century Federal Post Office in downtown Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 48- Public Buildings (arranged chronologically) contains postcards depicting various municipal buildings including the original Duval County Courthouse, The Armory, and the Civic Auditorium of Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 49- Restaurants (arranged chronologically) contains postcards depicting Jacksonville area restaurants.\u003c/p\u003e\n","\u003cp\u003eSeries 50- St. Augustine, Florida (arranged chronologically) contains postcards depicting businesses, tourist attractions, and historic sites in St. Augustine, Florida\u003c/p\u003e\n","\u003cp\u003eSeries 51- St. Johns River, Florida (arranged chronologically) contains postcards depicting scenes from the St. Johns River, \u003c/p\u003e\n","\u003cp\u003eSeries 52- Sanford, Florida (arranged chronologically) contains postcards depicting a steamer ship in Sanford, Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 53- Schools (arranged chronologically) contains postcards depicting school buildings in the Jacksonville area including Central Grammar School, Duval High School, Edward Waters College.\u003c/p\u003e\n","\u003cp\u003eSeries 54- Silver Springs, Florida (arranged chronologically) contains postcards depicting a scene of glass-bottom boats at the springs. \u003c/p\u003e\n","\u003cp\u003eSeries 55- Souvenir Postcard Booklets (arranged chronologically) contains multi-postcard booklets depicting scenes from Northeast Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 56- Streets (arranged chronologically) contains postcards depicting street views in downtown Jacksonville, and the Riverside and Springfield neighborhoods. \u003c/p\u003e\n","\u003cp\u003eSeries 57- Theaters (arranged chronologically) contains postcards depicting the Palace and New Palace theaters.\u003c/p\u003e\n","\u003cp\u003eSeries 58- Trailer Camps (arranged chronologically) contains postcards depicting scenes of tourist trailer campgrounds near Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 59- Trees (arranged chronologically) contains postcards depicting various species of trees native to Northeast Florida and the famous Treaty Oak live oak tree located in Jesse Ball duPont Park. \u003c/p\u003e\n","\u003cp\u003eSeries 60- Turpentine Industry (arranged chronologically) contains postcards depicting scenes of turpentine camps in Northeast Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 61- Union Station (arranged chronologically) contains postcards depicting various scenes of the historic Union Station in Downtown Jacksonville, now the Prime F. Osborn III Convention Center.\u003c/p\u003e\n","\u003cp\u003eSeries 62- Universities and Colleges (arranged chronologically) contains postcards depicting Jacksonville University, University of North Florida, and Edward Waters College campuses. \u003c/p\u003e\n","\u003cp\u003eSeries 63- Viaducts/Trains (arranged chronologically) contains postcards depicting railroad viaducts and close-up depictions of train engines. \u003c/p\u003e\n","\u003cp\u003eSeries 64- Waterfronts (arranged chronologically) contains postcards depicting various views of the Jacksonville skyline as seen from the St. Johns River. \u003c/p\u003e\n","\u003cp\u003eSeries 65- Waterworks; Jacksonville, Florida (arranged chronologically) contains postcards depicting the historic waterworks located in the Springfield neighborhood of Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 66- Zoos (arranged chronologically) contains postcards depicting views from the Jacksonville Zoo during the early and mid-20th century. \u003c/p\u003e\n","\u003cp\u003eSeries 67- Sensitive Content (arranged chronologically) contains postcards depicting content that may be harmful or distressing to viewers. These items are available to review in person only.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains postcards related to Northeast Florida's agricultural, shipping, manufacturing, and tourism industries and is part of a larger ephemera collection related to region. The collection was donated over several years by UNF library staff. Postcards range in date from the late 19th century through the late 20th century, with the bulk dates falling between 1900 and 1950. The collection is arranged alphabetically by series and chronologically within each series. \nSeries in this collection include the following:","Series 1- Advertising Cards (arranged chronologically) contains business advertisement cards from Northeast Florida business and organizations.","Series 2- Agriculture (arranged chronologically) contains postcards depicting the agricultural industry in Northeast Florida","Series 3- Airports (arranged chronologically) contains postcards depicting Jacksonville International Airport and local municipal airports in Northeast Florida.","Series 4- Alligator Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the Alligator farm, an early 20th century tourist attraction in Jacksonville, Florida.","Series 5- Atlantic Beach, Florida (arranged chronologically) contains postcards depicting panoramic views of Atlantic Beach, local hotels, and other tourist attractions.","Series 6- Atlantic Intracoastal Waterway (arranged chronologically) contains postcards depicting steamer ships owned by the Clyde Line, commercial shipping docks, and views of the intracoastal waterway.","Series 7- Bank Buildings (arranged chronologically) contains postcards depicting the Florida National Bank, Atlantic National Bank, Barnett First National Bank, and other local Northeast Florida Bank buildings.","Series 8- Bridges (arranged chronologically) contains postcards depicting local Jacksonville, Florida bridges, including the Fuller Warren Bridge, Main Street Bridge, Matthews Bridge, Napolean Bonaparte Broward Bridge, and Hart Bridge.","Series 9- Buildings (arranged chronologically) contains postcards depicting buildings in downtown Jacksonville, including structures of architectural significance like the St. James Building and the Shriners Temple.","Series 10- Church Buildings (arranged chronologically) contains postcards depicting churches of different denominations, including Catholic, Baptist, Methodist, and Episcopal, in the Northeast Florida area.","Series 11- Clubs (arranged chronologically) contains postcards depicting Jacksonville area athletic and social clubs. Examples include the Seminole Club, Fort George Club, Masonic Temple, and San Jose Golf Club.","Series 12- Cumberland Island, Georgia (arranged chronologically) contains postcards depicting Thomas M. Carnegie's home, Dungeness. ","Series 13- Dixieland Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting early 20th century tourist attraction on the Southbank of Jacksonville. ","Series 14- Docks and Shipping (arranged chronologically) contains postcards depicting scenes of commercial shipping docks and steamer ships on the St Johns River in downtown Jacksonville. ","Series 15- Dwellings (arranged chronologically) contains postcards depicting private residences in the Riverside, Springfield, Mandarin, and Ortega neighborhoods of Jacksonville. ","Series 16- Epping Forest; Jacksonville, Florida (arranged chronologically) contains postcards depicting the mansion of Alfred I. du Pont, now the Epping Forest Yacht Club.","Series 17- Eustis, Florida (arranged chronologically) contains postcards depicting photographic postcard taken in Eustis, Florida.","Series 18- Fernandina Beach, Florida (arranged chronologically) contains postcards depicting businesses, municipal buildings, hotels, private residences, and beach scenes.","Series 19- Florida Ostrich Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting tourist attraction popular in the early 20th century, with scenes of the farm with birds and ostriches racing. ","Series 20- Fort Clinch State Park, Florida (arranged chronologically) contains postcards depicting structures and ruins of the Civil War fort near Amelia Island and Fernandina Beach.","Series 21- Friendship Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting Friendship fountain and the downtown Jacksonville skyline across from the park located on the Southbank. ","Series 22- Gardens (arranged chronologically) contains postcards depicting scenes of plants native to Northeast Florida and Cummer Museum and Gardens. ","Series 23- General (arranged chronologically) contains postcards depicting a variety of scenes of locations in Jacksonville, cards printed by local printer H\u0026WB Drew Company, and cards addressed to Jacksonville addresses.","Series 24- Green Cove Springs, Florida (arranged chronologically) contains postcards depicting Springs, the bathing pavilion, and the Qui-Si-Sana Hotel and Health Spa. ","Series 25- Hemming Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting the grounds and businesses surrounding the park, known today as James Weldon Johnson Park. ","Series 26- Highways (arranged chronologically) contains postcards depicting several multi-lane highways and expressways in Jacksonville. ","Series 27- Hilliard, Florida (arranged chronologically) contains postcards depicting a hotel located in Hilliard, Florida near the Florida/Georgia Border. ","Series 28- Hospitals (arranged chronologically) contains postcards depicting Jacksonville area hospitals, including St. Vincent's Hospital, De Soto Sanatorium, St. Luke's Hospital, and Brewster Hospital. ","Series 29- Hotels (arranged chronologically) contains postcards depicting Jacksonville area hotels, including Hotel Burbridge, Hotel Roosevelt, Aragon Hotel, and Windsor Hotel. ","Series 30- Jacksonville Beach, Florida (arranged chronologically) contains postcards depicting scenes of local businesses, hotels, restaurants, and beaches.","Series 31- Keystone Heights, Florida (arranged chronologically) contains postcards depicting a hotel in Keystone Heights, Florida. ","Series 32- Kingsley Plantation; Fort George Island, Florida (arranged chronologically) contains postcards depicting National Park Kingsley Plantation on Fort George Island. ","Series 33- Library Buildings (arranged chronologically) contains postcards depicting the exteriors of Jacksonville area public library buildings.","Series 34- Marineland, Florida (arranged chronologically) contains postcards depicting aerial views of Marineland Studios, dolphins, and businesses at the historic tourist attraction. ","Series 35- Military Bases (arranged chronologically) contains photographic postcards depicting Camp Foster, founded as a work camp during the Great Depression, Camp Blanding Army Camp, and Camp Joseph E. Johnston.","Series 36- Mining (arranged chronologically) contains postcards depicting phosphate mining in Florida. ","Series 37- Monuments (arranged chronologically) contains postcards depicting monuments in the Jacksonville area.","Series 38- Motels (arranged chronologically) contains postcards depicting mid-20th century tourist motels in the Jacksonville area along U.S. Highway 1.","Series 39- Museums (arranged chronologically) contains postcards depicting artwork from the collections of the Cummer Museum in the Riverside neighborhood of Jacksonville, Florida. ","Series 40- Naval Air Station; Jacksonville, Florida (arranged chronologically) contains postcards depicting structures at Mayport, Cecil Field, and Jacksonville Naval Air stations. ","Series 41- Neptune Beach, Florida (arranged chronologically) contains postcards depicting scenes of beach front at Neptune Beach.","Series 42- Orange Park, Florida (arranged chronologically) contains postcards depicting structures at Moosehaven Retirement Community located in Orange Park, Florida on the St. Johns River. ","Series 43- Oriental Gardens; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the former tourist attraction located on San Jose Boulevard.","Series 44- Parks (arranged chronologically) contains postcards depicting historic images of parks in various Jacksonville neighborhoods, including Riverside and Springfield parks. ","Series 45- Persons (arranged chronologically) contains photographic postcards depicting portraits of visitors to Jacksonville. ","Series 46- Ponte Vedra Beach, Florida (arranged chronologically) contains postcards depicting views of structures on the Ponte Vedra Inn and Club.","Series 47- Post Office Building (arranged chronologically) contains postcards depicting early 20th century Federal Post Office in downtown Jacksonville. ","Series 48- Public Buildings (arranged chronologically) contains postcards depicting various municipal buildings including the original Duval County Courthouse, The Armory, and the Civic Auditorium of Jacksonville. ","Series 49- Restaurants (arranged chronologically) contains postcards depicting Jacksonville area restaurants.","Series 50- St. Augustine, Florida (arranged chronologically) contains postcards depicting businesses, tourist attractions, and historic sites in St. Augustine, Florida","Series 51- St. Johns River, Florida (arranged chronologically) contains postcards depicting scenes from the St. Johns River, ","Series 52- Sanford, Florida (arranged chronologically) contains postcards depicting a steamer ship in Sanford, Florida.","Series 53- Schools (arranged chronologically) contains postcards depicting school buildings in the Jacksonville area including Central Grammar School, Duval High School, Edward Waters College.","Series 54- Silver Springs, Florida (arranged chronologically) contains postcards depicting a scene of glass-bottom boats at the springs. ","Series 55- Souvenir Postcard Booklets (arranged chronologically) contains multi-postcard booklets depicting scenes from Northeast Florida.","Series 56- Streets (arranged chronologically) contains postcards depicting street views in downtown Jacksonville, and the Riverside and Springfield neighborhoods. ","Series 57- Theaters (arranged chronologically) contains postcards depicting the Palace and New Palace theaters.","Series 58- Trailer Camps (arranged chronologically) contains postcards depicting scenes of tourist trailer campgrounds near Jacksonville. ","Series 59- Trees (arranged chronologically) contains postcards depicting various species of trees native to Northeast Florida and the famous Treaty Oak live oak tree located in Jesse Ball duPont Park. ","Series 60- Turpentine Industry (arranged chronologically) contains postcards depicting scenes of turpentine camps in Northeast Florida.","Series 61- Union Station (arranged chronologically) contains postcards depicting various scenes of the historic Union Station in Downtown Jacksonville, now the Prime F. Osborn III Convention Center.","Series 62- Universities and Colleges (arranged chronologically) contains postcards depicting Jacksonville University, University of North Florida, and Edward Waters College campuses. ","Series 63- Viaducts/Trains (arranged chronologically) contains postcards depicting railroad viaducts and close-up depictions of train engines. ","Series 64- Waterfronts (arranged chronologically) contains postcards depicting various views of the Jacksonville skyline as seen from the St. Johns River. ","Series 65- Waterworks; Jacksonville, Florida (arranged chronologically) contains postcards depicting the historic waterworks located in the Springfield neighborhood of Jacksonville. ","Series 66- Zoos (arranged chronologically) contains postcards depicting views from the Jacksonville Zoo during the early and mid-20th century. ","Series 67- Sensitive Content (arranged chronologically) contains postcards depicting content that may be harmful or distressing to viewers. These items are available to review in person only."],"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":67,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1872853597225484288,"_root_":"45807c67f367973431520ee3","timestamp":"2026-08-07T08:46:14.061Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/45807c67f367973431520ee3_aspace_5f7b395fe6117dcc367e6299736abec2"}},{"id":"18ce43a3c782b797db9fa781_aspace_176222","type":"Series","attributes":{"title":"Theater Title Cards","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_176222#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_176222","ref_ssm":["aspace_176222","aspace_176222"],"id":"18ce43a3c782b797db9fa781_aspace_176222","title_filing_ssi":"Theater Title Cards","title_ssm":["Theater Title Cards"],"title_tesim":["Theater Title Cards"],"normalized_title_ssm":["Theater Title Cards"],"text":["Theater Title Cards","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations","Series 2","/repositories/2/archival_objects/81498"],"component_level_isim":[2],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179818"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Series 2","/repositories/2/archival_objects/81498"],"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":15,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":604,"parent_access_restrict_tesm":["Fragile materials served by appointment. Gloves required."],"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"_nest_path_":"/components#16/components#1","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179818","_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_176222"}},{"id":"a04ee2f29c834be99eea7a5b_aspace_21006","type":"Series","attributes":{"title":"The Atlantic Sun, 1966-1989","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/a04ee2f29c834be99eea7a5b_aspace_21006#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe Atlantic Sun was the first student newspaper at Florida Atlantic University. It documents the events, politics, and opinions at FAU during the years of its publication. The Atlantic Sun consists of 69 volumes arranged in volume order. The newspapers were bound by the FAU library.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/a04ee2f29c834be99eea7a5b_aspace_21006#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_21006","ref_ssm":["aspace_21006","aspace_21006"],"id":"a04ee2f29c834be99eea7a5b_aspace_21006","title_filing_ssi":"The Atlantic Sun, 1966-1989","title_ssm":["The Atlantic Sun, 1966-1989"],"title_tesim":["The Atlantic Sun, 1966-1989"],"normalized_title_ssm":["The Atlantic Sun, 1966-1989"],"text":["The Atlantic Sun, 1966-1989","FAU Student Newspapers Collection, 1964 - 2017","Series 1","/repositories/2/archival_objects/6156","The Atlantic Sun was the first student newspaper at Florida Atlantic University. It documents the events, politics, and opinions at FAU during the years of its publication. The Atlantic Sun consists of 69 volumes arranged in volume order. The newspapers were bound by the FAU library."],"component_level_isim":[1],"parent_ids_ssim":["a04ee2f29c834be99eea7a5b"],"parent_unittitles_ssm":["FAU Student Newspapers Collection, 1964 - 2017"],"parent_unittitles_tesim":["FAU Student Newspapers Collection, 1964 - 2017"],"parent_levels_ssm":["collection"],"unitid_ssm":["Series 1","/repositories/2/archival_objects/6156"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["FAU Student Newspapers Collection, 1964 - 2017"],"has_online_content_ssim":["false"],"child_component_count_isi":69,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"parent_access_terms_tesm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Atlantic Sun was the first student newspaper at Florida Atlantic University. It documents the events, politics, and opinions at FAU during the years of its publication. The Atlantic Sun consists of 69 volumes arranged in volume order. The newspapers were bound by the FAU library.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Atlantic Sun was the first student newspaper at Florida Atlantic University. It documents the events, politics, and opinions at FAU during the years of its publication. The Atlantic Sun consists of 69 volumes arranged in volume order. The newspapers were bound by the FAU library."],"_nest_path_":"/components#0","_nest_parent_":"a04ee2f29c834be99eea7a5b","_root_":"a04ee2f29c834be99eea7a5b","_version_":1870841933544292352,"timestamp":"2026-07-16T03:51:41.966Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"a04ee2f29c834be99eea7a5b","title_ssm":["FAU Student Newspapers Collection"],"title_tesim":["FAU Student Newspapers Collection"],"ead_ssi":"a04ee2f29c834be99eea7a5b","unitdate_ssm":["1964 - 2017"],"unitdate_inclusive_ssm":["1964 - 2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA00017","/repositories/2/resources/18"],"text":["UA00017","/repositories/2/resources/18","FAU Student Newspapers Collection, 1964 - 2017","Boca Raton (Fla.) -- Newspapers","\tCollege student newspapers and periodicals -- Florida -- Boca Raton","Florida Atlantic University -- Students -- Periodicals","\tUniversities and colleges -- Florida -- Boca Raton -- Periodicals","University Archives","Florida Atlantic University -- History","Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","The collection is arranged in volume order. The item field represents the publication's issue number.  On some issues, there are a variety of publication conventions, such as: no printed issue number, words in place of issue number, or misnumbered print run.  For example, the phrase \"New Student Edition,\" \"Orientation,\" or \"Extra\" may appear instead of an issue number.  When permissible the finding aid best represents the information found on the front page.","In 2011, Leslie Siegel processed this collection.","The student newspapers at Florida Atlantic University document various events, politics, and opinions at FAU.  Overall there are seven different publishing histories: The Atlantic Sun (1964 - 1989),  Student Newspapers - Self Published (1969 - 1973), The Independent Atlantic Sun (1989 - 1991), \"All New\" Atlantic Sun (1991 - 1992), Free Press at Florida Atlantic University (1994 - 1995), The University Press at Florida Atlantic University (1996 - 1999), and The University Press (1999 - Active).","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections .","Florida Atlantic University Libraries","Florida Atlantic University","English"],"unitid_tesim":["UA00017","/repositories/2/resources/18"],"normalized_date_ssm":["1964 - 2017"],"normalized_title_ssm":["FAU Student Newspapers Collection, 1964 - 2017"],"collection_title_tesim":["FAU Student Newspapers Collection, 1964 - 2017"],"collection_ssim":["FAU Student Newspapers Collection, 1964 - 2017"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"access_terms_ssm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"access_subjects_ssim":["Boca Raton (Fla.) -- Newspapers","\tCollege student newspapers and periodicals -- Florida -- Boca Raton","Florida Atlantic University -- Students -- Periodicals","\tUniversities and colleges -- Florida -- Boca Raton -- Periodicals","University Archives","Florida Atlantic University -- History"],"access_subjects_ssm":["Boca Raton (Fla.) -- Newspapers","\tCollege student newspapers and periodicals -- Florida -- Boca Raton","Florida Atlantic University -- Students -- Periodicals","\tUniversities and colleges -- Florida -- Boca Raton -- Periodicals","University Archives","Florida Atlantic University -- History"],"has_online_content_ssim":["false"],"extent_ssm":["36.00 Linear Feet"],"extent_tesim":["36.00 Linear Feet"],"date_range_isim":[1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.\u003c/p\u003e\n","\u003cp\u003ePhotocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in volume order. The item field represents the publication's issue number.\u0026#xA0; On some issues, there are a variety of publication conventions, such as: no printed issue number, words in place of issue number, or misnumbered print run.\u0026#xA0; For example, the phrase \"New Student Edition,\" \"Orientation,\" or \"Extra\" may appear instead of an issue number.\u0026#xA0; When permissible the finding aid best represents the information found on the front page.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is arranged in volume order. The item field represents the publication's issue number.  On some issues, there are a variety of publication conventions, such as: no printed issue number, words in place of issue number, or misnumbered print run.  For example, the phrase \"New Student Edition,\" \"Orientation,\" or \"Extra\" may appear instead of an issue number.  When permissible the finding aid best represents the information found on the front page."],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series; volume and issue number; University Archives; Florida Atlantic University Libraries, Boca Raton, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series; volume and issue number; University Archives; Florida Atlantic University Libraries, Boca Raton, Florida."],"processinfo_html_tesm":["\u003cp\u003eIn 2011, Leslie Siegel processed this collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2011, Leslie Siegel processed this collection."],"scopecontent_html_tesm":["\u003cp\u003eThe student newspapers at Florida Atlantic University document various events, politics, and opinions at FAU.\u0026#xA0; Overall there are seven different publishing histories: The Atlantic Sun (1964 - 1989),\u0026#xA0; Student Newspapers - Self Published (1969 - 1973), The Independent Atlantic Sun (1989 - 1991), \"All New\" Atlantic Sun (1991 - 1992), Free Press at Florida Atlantic University (1994 - 1995), The University Press at Florida Atlantic University (1996 - 1999), and The University Press (1999 - Active).\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The student newspapers at Florida Atlantic University document various events, politics, and opinions at FAU.  Overall there are seven different publishing histories: The Atlantic Sun (1964 - 1989),  Student Newspapers - Self Published (1969 - 1973), The Independent Atlantic Sun (1989 - 1991), \"All New\" Atlantic Sun (1991 - 1992), Free Press at Florida Atlantic University (1994 - 1995), The University Press at Florida Atlantic University (1996 - 1999), and The University Press (1999 - Active)."],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.\u003c/p\u003e\n","\u003cp\u003eWhen using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.\u003c/p\u003e\n","\u003cp\u003eShould the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact \u003ca href=\"mailto:lysca@fau.edu\"\u003eSpecial Collections\u003c/a\u003e.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. 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Print.\u003c/p\u003e\n","\u003cp\u003ePohl, Frederik. \u003cemph render=\"italic\"\u003eO Pioneer!\u003c/emph\u003e New York: Tor, 1998. Print.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Publications"],"relatedmaterial_tesim":["Frederik Pohl Collection, Cushing Memorial Library, Texas A\u0026M University, College Station, Texas.","http://www.lib.utexas.edu/taro/tamucush/00213/tamu-00213.html","Pohl, Frederik.  The Way the Future Was: A Memoir . New York: Ballantine Books, 1978. Print.","Pohl, Frederik.  The Early Pohl . Garden City, N.Y: Doubleday, 1976. Print.","Pohl, Frederik.  Man Plus . New York: Random House, 1976. Print.","Pohl, Frederik.  Homegoing . New York: Ballantine Books, 1989. Print.","Pohl, Frederik.  Chernobyl: A Novel . Toronto: Bantam Books, 1987. Print.","Pohl, Frederik.  The Annals of the Heechee . New York: Ballantine Books, 1987. Print.","Pohl, Frederik.  Black Star Rising . New York: Ballantine Books, 1985. Print.","Pohl, Frederik.  O Pioneer!  New York: Tor, 1998. 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