{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=1372","prev":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=1371","next":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=1373","last":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65767"},"meta":{"pages":{"current_page":1372,"next_page":1373,"prev_page":1371,"total_pages":65767,"limit_value":10,"offset_value":13710,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"83f92d0a0a882d51dcaee274_aspace_922e818f77fd9759fed2f9aa20e7582b","type":"File","attributes":{"title":"3rd Development Amendment, 2003","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/83f92d0a0a882d51dcaee274_aspace_922e818f77fd9759fed2f9aa20e7582b#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_922e818f77fd9759fed2f9aa20e7582b","ref_ssm":["aspace_922e818f77fd9759fed2f9aa20e7582b","aspace_922e818f77fd9759fed2f9aa20e7582b"],"id":"83f92d0a0a882d51dcaee274_aspace_922e818f77fd9759fed2f9aa20e7582b","title_filing_ssi":"3rd Development Amendment","title_ssm":["3rd Development Amendment"],"title_tesim":["3rd Development Amendment"],"unitdate_other_ssim":["2003"],"normalized_date_ssm":["2003"],"normalized_title_ssm":["3rd Development Amendment, 2003"],"text":["3rd Development Amendment, 2003","Southwest Florida Regional Planning Council Collection, 1920-2020","Health Park","Modification, 1987-2011","/repositories/2/archival_objects/37934","English","box 52","folder 33"],"component_level_isim":[3],"parent_ids_ssim":["83f92d0a0a882d51dcaee274","83f92d0a0a882d51dcaee274_aspace_0ab7e9e2a414e0b2ae9758a5b6ffde32","83f92d0a0a882d51dcaee274_aspace_d8e84d7eea57962124fd76f3e0c5dfad"],"parent_unittitles_ssm":["Southwest Florida Regional Planning Council Collection, 1920-2020","Health Park","Modification, 1987-2011"],"parent_unittitles_tesim":["Southwest Florida Regional Planning Council Collection, 1920-2020","Health Park","Modification, 1987-2011"],"parent_levels_ssm":["collection","Series","Subgroup"],"unitid_ssm":["/repositories/2/archival_objects/37934"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"collection_ssim":["Southwest Florida Regional Planning Council Collection, 1920-2020"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":1864,"parent_access_restrict_tesm":["The collection is open for use by the public."],"date_range_isim":[2003],"language_ssim":["English"],"containers_ssim":["box 52","folder 33"],"_nest_path_":"/components#46/components#2/components#9","_nest_parent_":"83f92d0a0a882d51dcaee274_aspace_d8e84d7eea57962124fd76f3e0c5dfad","_root_":"83f92d0a0a882d51dcaee274","_version_":1879903291767259136,"timestamp":"2026-10-24T04:18:06.636Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"83f92d0a0a882d51dcaee274","title_ssm":["Southwest Florida Regional Planning Council Collection"],"title_tesim":["Southwest Florida Regional Planning Council Collection"],"ead_ssi":"83f92d0a0a882d51dcaee274","unitdate_ssm":["1920-2020"],"unitdate_inclusive_ssm":["1920-2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["02.03.11","/repositories/2/resources/69"],"text":["02.03.11","/repositories/2/resources/69","Southwest Florida Regional Planning Council Collection, 1920-2020","Urban Planning","Environmental planning","The collection is open for use by the public.","Oversized maps within the Southwest Regional Planning Council are published and described in the  Southwest Florida Map Collection .","Southwest Florida (SWFL) has a unique environmental ecosystem consisting of preserves, sanctuaries, swamps, estuaries, and coastlines. The Southwest Florida Regional Planning Council Collection offers an extensive array of documents, reports, maps, and materials documenting the development and conservation of the SWFL region from the Southwest Florida Regional Planning Council.","Florida Gulf Coast University Special Collections","Southwest Florida Regional Planning Council","English"],"unitid_tesim":["02.03.11","/repositories/2/resources/69"],"normalized_date_ssm":["1920-2020"],"normalized_title_ssm":["Southwest Florida Regional Planning Council Collection, 1920-2020"],"collection_title_tesim":["Southwest Florida Regional Planning Council Collection, 1920-2020"],"collection_ssim":["Southwest Florida Regional Planning Council Collection, 1920-2020"],"repository_ssm":["Florida Gulf Coast University Special Collections"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"geogname_ssm":["Urban Planning"],"geogname_ssim":["Urban Planning"],"creator_ssm":["Southwest Florida Regional Planning Council"],"creator_ssim":["Southwest Florida Regional Planning Council"],"creator_corpname_ssim":["Southwest Florida Regional Planning Council"],"creators_ssim":["Southwest Florida Regional Planning Council"],"places_ssim":["Urban Planning"],"access_subjects_ssim":["Environmental planning"],"access_subjects_ssm":["Environmental planning"],"has_online_content_ssim":["false"],"extent_ssm":["408 Linear Feet"],"extent_tesim":["408 Linear Feet"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for use by the public.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for use by the public."],"relatedmaterial_html_tesm":["\u003cp\u003eOversized maps within the Southwest Regional Planning Council are published and described in the \u003ca href=\"https://archives.fgcu.edu/archival_objects/rpcmaps\"\u003eSouthwest Florida Map Collection\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Oversized maps within the Southwest Regional Planning Council are published and described in the  Southwest Florida Map Collection ."],"scopecontent_html_tesm":["\u003cp\u003eSouthwest Florida (SWFL) has a unique environmental ecosystem consisting of preserves, sanctuaries, swamps, estuaries, and coastlines. The Southwest Florida Regional Planning Council Collection offers an extensive array of documents, reports, maps, and materials documenting the development and conservation of the SWFL region from the Southwest Florida Regional Planning Council.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Southwest Florida (SWFL) has a unique environmental ecosystem consisting of preserves, sanctuaries, swamps, estuaries, and coastlines. 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Access to UCF Facilities drawings, documents, and sensitive data is available to authorized university staff and approved consultants only, per university policy, and under lawful exception to Florida's Public Records Law. For more information, please contact staff in Special Collections \u0026 University Archives.","Previous Collection Identifier: CFU1989_02b","Additions: CFU19XX_03, CFU19XX_04, CFU19XX_05, CFU1997_01, CFU2004_04, CFU2006_01, CFU2010_07, CFU2011_22, CFU2012_29, CFU2012_30, CFU2013_14, CFU2013_I, CFU2014_01, CFU2014_B, CFU2016_04, CFU2018_33","This collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically.","In 1968 when University of Central Florida (then Florida Technological University) began, the library was the only building constructed completely and many classes and administrative offices were housed there. Clubs and athletics teams such as wrestling (CFF Vol 3 No 23) would meet in the library. According to the Annual Report of 1968-1969, the library's collection consisted of about 50,000 books and periodicals, plus 6,000 items of government documents. These items were packed within a warehouse waiting to be moved into the Library once construction as finished. A small percentage of the books were already processed. The decision was made to prepare the rest with whatever help was available at the time. So, students and all library staff created an assembly line to speed up the process. This process took an approximate ten weeks to complete. "," The first Library Director Lynn Walker was director from 1966-1982. Anne Marie Allison took the role as Library Director from 1983-1996. Barry Baker was the director from 1997-2019. In 2021, the Library Director position was elevated to a Dean of Libraries position. Beau Case was the inaugural Dean of Libraries."," In the late 1970s, the university applied for funding to help expand the building. In 1984, UCF saw its largest library renovation as of yet; doubling the building in size. In 2012, the main library was named after then university president John C. Hitt while celebrating his 20th anniversary serving at UCF. In 2020, the Automated Retrieval Center (ARC) finished partial construction as a part of several phases to better acclimate the growing student population. Even with the quick growth of the campus, the university library has remained a hub for cultural and intellectual activity, offering students and faculty an open forum for discussion and reflection.","Processing History  The original UCF Library Exhibits Records collection was processed by and finding aid prepared by April Karlene Anderson in 2005. Rusted paper clips were removed and replaced with plastic clips. News clippings were photocopied onto acid-free paper. All materials were rehoused in acid-free folders and boxes. Duplicates were removed and social security numbers were obliterated. Post-it notes were moved to the edge of the documents to prevent destruction of information. To facilitate research, files in the alphabetical files that belonged more appropriately in other series were moved. The acquisition method field and the subjects were updated by Kryslynn Collazo in 2018. The original University of Central Florida Libraries Promotion Coordinating Committee Records were processed by and finding aid prepared by Mary Rubin in 2012. Materials were re-foldered in archival materials. The original University of Central Florida Libraries Faculty Affairs Committee Documents were processed by and finding aid prepared by Mary Rubin in 2013.Renata Nagy began began combining these collections in 2017. The collection was finished by Elisabeth \"Eli\" Jimenez in 2022.Additional materials processed in 2024 by Arielle Petrovich.","For more information on university archives, please see our website. There is mention of a book sale at the library that was held on February 11, 1992 at the lobby. This event is referenced in the Central Florida Future Vol. 24 No. 41 and also in the UCF Report of February 5, 1992. Library Faculty Meeting Minutes from 1978 to 1994 are bound and is listed speartely from this collection. The call number is LD 1772 .F 934.","This collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically.\n\n","Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.","The Library collection documents the history of the John C. Hitt library. There are several subseries pertaining to different leaders, committees, and departments found within the library. This collection contains photographs, negatives, CDs, VHSs, and documents.","UCF University Archives","University of Central Florida. Office of Public Affairs","Florida Technological University","University of Central Florida","University of Central Florida. Library","University of Central Florida. Library -- Exhibitions","University of Central Florida. Library Promotion Coordinating Committee","Florida Technological University. Library -- Exhibitions","Florida Technological University. Library","Walker, Lynn","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry","English"],"unitid_tesim":["UA13A","/repositories/2/resources/236"],"normalized_date_ssm":["1953-2024, bulk 1966-1996"],"normalized_title_ssm":["University of Central Florida Library collection, 1953-2024, bulk 1966-1996"],"collection_title_tesim":["University of Central Florida Library collection, 1953-2024, bulk 1966-1996"],"collection_ssim":["University of Central Florida Library collection, 1953-2024, bulk 1966-1996"],"repository_ssm":["UCF University Archives"],"repository_ssim":["UCF University Archives"],"creator_ssm":["Walker, Lynn","University of Central Florida. Office of Public Affairs","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry"],"creator_ssim":["Walker, Lynn","University of Central Florida. Office of Public Affairs","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry"],"creator_persname_ssim":["Walker, Lynn","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry"],"creator_corpname_ssim":["University of Central Florida. Office of Public Affairs"],"creators_ssim":["Walker, Lynn","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry","University of Central Florida. Office of Public Affairs"],"access_terms_ssm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["Lynn Walker transferred his records in 1983 (CFU1983_01). The Office of Public Affairs transferred Library Exhibit photographs to the University Archives in 1989 (CFU1989_02b). Anne Marie Allison transferred her records in 1997 (CFU1997_01). Blueprints (CFU19XX_03), photographs (CFU19XX_04), minutes (CFU19XX_05), and exhibit materials (CFU2012_13) were given to the archives. It is unknown who made those transfers. Cheryl Mahan transferred Library Exhibit materials in 2004 (CFU2004_04) and Carole Hinshaw transferred additional materials in 2010 (CFU2010_07). Raynette Kibbee transferred Library Staff Photographs in 2006 (CFU2006_01) and in 2013 (CFU2013_14) as well as administrative papers in 2011 (CFU2011_22). Peter Spyers-Duran II transferred Promotion Coordinating Committee materials in 2012 (CFU2012_30). Tim Bottorff transferred Library Faculty Affairs Committee materials in 2012 (CFU2012_29) and Laila Miletic-Vejzovic transferred additional materials in 2014 (CFU2014_01). Meg Scharf transferred digital photos in 2013 (CFU2013_I) and plaques in 2014 (CFU2014_B). Barry Baker transferred his records and records about the 21st Century Library Project in 2016 (CFU2016_04) and in 2018 (CFU2018_33). Additional materials were transferred in 2024 (CFU2024_03; CFU2024_21)."],"access_subjects_ssim":["Universities and colleges -- Florida","Art students -- Florida -- Orlando","Library exhibits -- Florida -- Orlando","Librarians -- Promotions -- Florida -- Orlando","compact discs","DVDs","newspaper clippings","photographs","VHS"],"access_subjects_ssm":["Universities and colleges -- Florida","Art students -- Florida -- Orlando","Library exhibits -- Florida -- Orlando","Librarians -- Promotions -- Florida -- Orlando","compact discs","DVDs","newspaper clippings","photographs","VHS"],"has_online_content_ssim":["false"],"extent_ssm":["104.5 Linear Feet 207 boxes, 3 objects"],"extent_tesim":["104.5 Linear Feet 207 boxes, 3 objects"],"genreform_ssim":["compact discs","DVDs","newspaper clippings","photographs","VHS"],"date_range_isim":[1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research except for the following: Box 206, Flat Files 2-7, and Objects 1-3. Access to UCF Facilities drawings, documents, and sensitive data is available to authorized university staff and approved consultants only, per university policy, and under lawful exception to Florida's Public Records Law. For more information, please contact staff in Special Collections \u0026amp; University Archives.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The entire collection is open for research except for the following: Box 206, Flat Files 2-7, and Objects 1-3. Access to UCF Facilities drawings, documents, and sensitive data is available to authorized university staff and approved consultants only, per university policy, and under lawful exception to Florida's Public Records Law. For more information, please contact staff in Special Collections \u0026 University Archives."],"accruals_html_tesm":["\u003cp\u003ePrevious Collection Identifier: CFU1989_02b\u003c/p\u003e\n","\u003cp\u003eAdditions: CFU19XX_03, CFU19XX_04, CFU19XX_05, CFU1997_01, CFU2004_04, CFU2006_01, CFU2010_07, CFU2011_22, CFU2012_29, CFU2012_30, CFU2013_14, CFU2013_I, CFU2014_01, CFU2014_B, CFU2016_04, CFU2018_33\u003c/p\u003e"],"accruals_heading_ssm":["Additions"],"accruals_tesim":["Previous Collection Identifier: CFU1989_02b","Additions: CFU19XX_03, CFU19XX_04, CFU19XX_05, CFU1997_01, CFU2004_04, CFU2006_01, CFU2010_07, CFU2011_22, CFU2012_29, CFU2012_30, CFU2013_14, CFU2013_I, CFU2014_01, CFU2014_B, CFU2016_04, CFU2018_33"],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically."],"bioghist_html_tesm":["\u003cp\u003eIn 1968 when University of Central Florida (then Florida Technological University) began, the library was the only building constructed completely and many classes and administrative offices were housed there. Clubs and athletics teams such as wrestling (CFF Vol 3 No 23) would meet in the library. According to the Annual Report of 1968-1969, the library's collection consisted of about 50,000 books and periodicals, plus 6,000 items of government documents. These items were packed within a warehouse waiting to be moved into the Library once construction as finished. A small percentage of the books were already processed. The decision was made to prepare the rest with whatever help was available at the time. So, students and all library staff created an assembly line to speed up the process. This process took an approximate ten weeks to complete. \u003c/p\u003e\n","\u003cp\u003e The first Library Director Lynn Walker was director from 1966-1982. Anne Marie Allison took the role as Library Director from 1983-1996. Barry Baker was the director from 1997-2019. In 2021, the Library Director position was elevated to a Dean of Libraries position. Beau Case was the inaugural Dean of Libraries.\u003c/p\u003e\n","\u003cp\u003e In the late 1970s, the university applied for funding to help expand the building. In 1984, UCF saw its largest library renovation as of yet; doubling the building in size. In 2012, the main library was named after then university president John C. Hitt while celebrating his 20th anniversary serving at UCF. In 2020, the Automated Retrieval Center (ARC) finished partial construction as a part of several phases to better acclimate the growing student population. Even with the quick growth of the campus, the university library has remained a hub for cultural and intellectual activity, offering students and faculty an open forum for discussion and reflection.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical Note"],"bioghist_tesim":["In 1968 when University of Central Florida (then Florida Technological University) began, the library was the only building constructed completely and many classes and administrative offices were housed there. Clubs and athletics teams such as wrestling (CFF Vol 3 No 23) would meet in the library. According to the Annual Report of 1968-1969, the library's collection consisted of about 50,000 books and periodicals, plus 6,000 items of government documents. These items were packed within a warehouse waiting to be moved into the Library once construction as finished. A small percentage of the books were already processed. The decision was made to prepare the rest with whatever help was available at the time. So, students and all library staff created an assembly line to speed up the process. This process took an approximate ten weeks to complete. "," The first Library Director Lynn Walker was director from 1966-1982. Anne Marie Allison took the role as Library Director from 1983-1996. Barry Baker was the director from 1997-2019. In 2021, the Library Director position was elevated to a Dean of Libraries position. Beau Case was the inaugural Dean of Libraries."," In the late 1970s, the university applied for funding to help expand the building. In 1984, UCF saw its largest library renovation as of yet; doubling the building in size. In 2012, the main library was named after then university president John C. Hitt while celebrating his 20th anniversary serving at UCF. In 2020, the Automated Retrieval Center (ARC) finished partial construction as a part of several phases to better acclimate the growing student population. Even with the quick growth of the campus, the university library has remained a hub for cultural and intellectual activity, offering students and faculty an open forum for discussion and reflection."],"prefercite_html_tesm":["\u003cp\u003eUniversity of Central Florida Library Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["University of Central Florida Library Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003e\u003chead audience=\"internal\"\u003eProcessing History\u003c/head\u003e The original UCF Library Exhibits Records collection was processed by and finding aid prepared by April Karlene Anderson in 2005. Rusted paper clips were removed and replaced with plastic clips. News clippings were photocopied onto acid-free paper. All materials were rehoused in acid-free folders and boxes. Duplicates were removed and social security numbers were obliterated. Post-it notes were moved to the edge of the documents to prevent destruction of information. To facilitate research, files in the alphabetical files that belonged more appropriately in other series were moved. The acquisition method field and the subjects were updated by Kryslynn Collazo in 2018. The original University of Central Florida Libraries Promotion Coordinating Committee Records were processed by and finding aid prepared by Mary Rubin in 2012. Materials were re-foldered in archival materials. The original University of Central Florida Libraries Faculty Affairs Committee Documents were processed by and finding aid prepared by Mary Rubin in 2013.Renata Nagy began began combining these collections in 2017. The collection was finished by Elisabeth \"Eli\" Jimenez in 2022.Additional materials processed in 2024 by Arielle Petrovich.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing History"],"processinfo_tesim":["Processing History  The original UCF Library Exhibits Records collection was processed by and finding aid prepared by April Karlene Anderson in 2005. Rusted paper clips were removed and replaced with plastic clips. News clippings were photocopied onto acid-free paper. All materials were rehoused in acid-free folders and boxes. Duplicates were removed and social security numbers were obliterated. Post-it notes were moved to the edge of the documents to prevent destruction of information. To facilitate research, files in the alphabetical files that belonged more appropriately in other series were moved. The acquisition method field and the subjects were updated by Kryslynn Collazo in 2018. The original University of Central Florida Libraries Promotion Coordinating Committee Records were processed by and finding aid prepared by Mary Rubin in 2012. Materials were re-foldered in archival materials. The original University of Central Florida Libraries Faculty Affairs Committee Documents were processed by and finding aid prepared by Mary Rubin in 2013.Renata Nagy began began combining these collections in 2017. The collection was finished by Elisabeth \"Eli\" Jimenez in 2022.Additional materials processed in 2024 by Arielle Petrovich."],"relatedmaterial_html_tesm":["\u003cp\u003eFor more information on university archives, please see our website. There is mention of a book sale at the library that was held on February 11, 1992 at the lobby. This event is referenced in the Central Florida Future Vol. 24 No. 41 and also in the UCF Report of February 5, 1992. Library Faculty Meeting Minutes from 1978 to 1994 are bound and is listed speartely from this collection. The call number is LD 1772 .F 934.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["For more information on university archives, please see our website. There is mention of a book sale at the library that was held on February 11, 1992 at the lobby. This event is referenced in the Central Florida Future Vol. 24 No. 41 and also in the UCF Report of February 5, 1992. Library Faculty Meeting Minutes from 1978 to 1994 are bound and is listed speartely from this collection. The call number is LD 1772 .F 934."],"scopecontent_html_tesm":["\u003carrangement\u003eThis collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically.\n\n\u003c/arrangement\u003e"],"scopecontent_heading_ssm":["Collection Scope and Content"],"scopecontent_tesim":["This collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically.\n\n"],"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":["Copyright Statement"],"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_41f21e1f17593b0322fc574db5d1b370\"\u003eThe Library collection documents the history of the John C. Hitt library. There are several subseries pertaining to different leaders, committees, and departments found within the library. This collection contains photographs, negatives, CDs, VHSs, and documents.\u003c/abstract\u003e"],"abstract_tesim":["The Library collection documents the history of the John C. Hitt library. There are several subseries pertaining to different leaders, committees, and departments found within the library. This collection contains photographs, negatives, CDs, VHSs, and documents."],"names_coll_ssim":["Florida Technological University","University of Central Florida","University of Central Florida. Library","University of Central Florida. Library -- Exhibitions","University of Central Florida. Library Promotion Coordinating Committee","Florida Technological University. Library -- Exhibitions","Florida Technological University. Library"],"names_ssim":["UCF University Archives","University of Central Florida. Office of Public Affairs","Florida Technological University","University of Central Florida","University of Central Florida. Library","University of Central Florida. Library -- Exhibitions","University of Central Florida. Library Promotion Coordinating Committee","Florida Technological University. Library -- Exhibitions","Florida Technological University. Library","Walker, Lynn","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry"],"corpname_ssim":["UCF University Archives","University of Central Florida. Office of Public Affairs","Florida Technological University","University of Central Florida","University of Central Florida. Library","University of Central Florida. Library -- Exhibitions","University of Central Florida. Library Promotion Coordinating Committee","Florida Technological University. Library -- Exhibitions","Florida Technological University. Library"],"persname_ssim":["Walker, Lynn","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3459,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1879284116823736320,"_root_":"22557056952ccd425aa98a4a","timestamp":"2026-10-17T08:16:35.403Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/22557056952ccd425aa98a4a_aspace_b287281b197cb231c2b9de2b899f2594"}},{"id":"d3616fdf15e8d4c7a8a83827_aspace_7e8ba972f67bf8e583bb80e959fc9e6f","type":"File","attributes":{"title":"3rd International Citrus Squeeze Off Towel","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/d3616fdf15e8d4c7a8a83827_aspace_7e8ba972f67bf8e583bb80e959fc9e6f#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_7e8ba972f67bf8e583bb80e959fc9e6f","ref_ssm":["aspace_7e8ba972f67bf8e583bb80e959fc9e6f","aspace_7e8ba972f67bf8e583bb80e959fc9e6f"],"id":"d3616fdf15e8d4c7a8a83827_aspace_7e8ba972f67bf8e583bb80e959fc9e6f","title_filing_ssi":"3rd International Citrus Squeeze Off Towel","title_ssm":["3rd International Citrus Squeeze Off Towel"],"title_tesim":["3rd International Citrus Squeeze Off Towel"],"normalized_title_ssm":["3rd International Citrus Squeeze Off Towel"],"text":["3rd International Citrus Squeeze Off Towel","Jim Ellis Collection, 1885-1999","History","/repositories/3/archival_objects/25460","box 3","folder 6"],"component_level_isim":[2],"parent_ids_ssim":["d3616fdf15e8d4c7a8a83827","d3616fdf15e8d4c7a8a83827_aspace_5dd523852a081408bd6e24a699721ed9"],"parent_unittitles_ssm":["Jim Ellis Collection, 1885-1999","History"],"parent_unittitles_tesim":["Jim Ellis Collection, 1885-1999","History"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/3/archival_objects/25460"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Jim Ellis Collection, 1885-1999"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":78,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"containers_ssim":["box 3","folder 6"],"_nest_path_":"/components#4/components#1","_nest_parent_":"d3616fdf15e8d4c7a8a83827_aspace_5dd523852a081408bd6e24a699721ed9","_root_":"d3616fdf15e8d4c7a8a83827","_version_":1870852005533057024,"timestamp":"2026-07-16T06:31:47.472Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"d3616fdf15e8d4c7a8a83827","title_ssm":["Jim Ellis Collection"],"title_tesim":["Jim Ellis Collection"],"ead_ssi":"d3616fdf15e8d4c7a8a83827","unitdate_ssm":["1885-1999"],"unitdate_inclusive_ssm":["1885-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT4030","/repositories/3/resources/135"],"text":["CIT4030","/repositories/3/resources/135","Jim Ellis Collection, 1885-1999","Citrus fruit industry--Florida--History.","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruit industry--Florida--Polk County","Florida Citrus Mutual","Citrus fruits--Diseases and pests--Florida","Agricultural policy--United States","Citrus fruits--Packing--Florida","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.","James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain – his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.","This collection contains various artifacts relating to citrus history.  The bulk of the collection is made of citrus labeling, ranging from collected crate labels to can labels, correspondence on label collecting, and even a crate label stamp.  It also contains information on inspections on citrus and vegetable groves, including inspector manuals and records.  Finiancial and business records are also contained in this collection.","This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","Thomas B. Mack Florida Citrus Archives","English"],"unitid_tesim":["CIT4030","/repositories/3/resources/135"],"normalized_date_ssm":["1885-1999"],"normalized_title_ssm":["Jim Ellis Collection, 1885-1999"],"collection_title_tesim":["Jim Ellis Collection, 1885-1999"],"collection_ssim":["Jim Ellis Collection, 1885-1999"],"repository_ssm":["Thomas B. Mack Florida Citrus Archives"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"access_terms_ssm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"acqinfo_ssim":["This collection was donated by Jim Ellis 2014-current."],"access_subjects_ssim":["Citrus fruit industry--Florida--History.","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruit industry--Florida--Polk County","Florida Citrus Mutual","Citrus fruits--Diseases and pests--Florida","Agricultural policy--United States","Citrus fruits--Packing--Florida"],"access_subjects_ssm":["Citrus fruit industry--Florida--History.","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruit industry--Florida--Polk County","Florida Citrus Mutual","Citrus fruits--Diseases and pests--Florida","Agricultural policy--United States","Citrus fruits--Packing--Florida"],"has_online_content_ssim":["false"],"extent_ssm":["4.37 Linear Feet 3 Legal Standard Archival Document Containers and 10 banker storage boxes"],"extent_tesim":["4.37 Linear Feet 3 Legal Standard Archival Document Containers and 10 banker storage boxes"],"date_range_isim":[1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"bioghist_html_tesm":["\u003cp\u003eJames Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees \u0026#x2013; whatever needed to be done \u0026#x2013; a trait he would carry with him throughout his life.\u003c/p\u003e\n","\u003cp\u003eHe attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute \u0026#x2013; where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.\u003c/p\u003e\n","\u003cp\u003eHe finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.\u003c/p\u003e\n","\u003cp\u003eShortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM\u0026#x2013; hosting steak dinners and signing up growers as members of the organization.\u003c/p\u003e\n","\u003cp\u003eIn 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.\u003c/p\u003e\n","\u003cp\u003eAs general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but \u0026#x2013; more importantly \u0026#x2013; sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.\u003c/p\u003e\n","\u003cp\u003eWhen the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026amp; Bonds, Division of Fruits \u0026amp; Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.\u003c/p\u003e\n","\u003cp\u003eJim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.\u003c/p\u003e\n","\u003cp\u003eHis main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and \u0026#x2013; if you don't \u0026#x2013; you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections \u0026#x2013; along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.\u003c/p\u003e\n","\u003cp\u003eHowever, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the d\u0026#xE9;cor of a restaurant recently opened in Sarasota!\u003c/p\u003e\n","\u003cp\u003eHowever, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.\u003c/p\u003e\n","\u003cp\u003eHe has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.\u003c/p\u003e\n","\u003cp\u003eJim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain \u0026#x2013; his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain – his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains various artifacts relating to citrus history.  The bulk of the collection is made of citrus labeling, ranging from collected crate labels to can labels, correspondence on label collecting, and even a crate label stamp.  It also contains information on inspections on citrus and vegetable groves, including inspector manuals and records.  Finiancial and business records are also contained in this collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains various artifacts relating to citrus history.  The bulk of the collection is made of citrus labeling, ranging from collected crate labels to can labels, correspondence on label collecting, and even a crate label stamp.  It also contains information on inspections on citrus and vegetable groves, including inspector manuals and records.  Finiancial and business records are also contained in this collection."],"userestrict_html_tesm":["\u003cp\u003eThis collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"names_ssim":["Thomas B. Mack Florida Citrus Archives"],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":156,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870852005533057024,"_root_":"d3616fdf15e8d4c7a8a83827","timestamp":"2026-07-16T06:31:47.472Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/d3616fdf15e8d4c7a8a83827_aspace_7e8ba972f67bf8e583bb80e959fc9e6f"}},{"id":"66acdd8a0f438be41593472d_aspace_84178","type":"File","attributes":{"title":"3rd. 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Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"containers_ssim":["box 183","folder 6"],"_nest_path_":"/components#0/components#7/components#9","_nest_parent_":"66acdd8a0f438be41593472d_aspace_83043","_root_":"66acdd8a0f438be41593472d","_version_":1870859136383582208,"timestamp":"2026-07-16T08:25:07.964Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"66acdd8a0f438be41593472d","title_ssm":["Dexter M. Easton Papers"],"title_tesim":["Dexter M. 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Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Transferred from Dexter Easton's home to Special Collections on December 9-10, 2010.","The collection includes correspondence with family, friends, students, and colleagues; lab notes covering over fifty years of ongoing research; manuscripts of papers and book, both published and unpublished; teaching materials including lecture notes and slides; conference posters; and personal documents recording his youth and private life. Most of the materials are printed or hand-written papers, along with a small number of scientific photographs and slides.\n \tExamples of topics covered in his professional work include: a) Gating charge voltage dependence on holding potential, predicted by expo-exponential model b) Na+ permeability change predicted proportional to gating current c) X-ray survival as Gompertz growth in number killed d) Muscle chamber with strain gauge adapted for isotonic/isometric recording e) Macroscopic INa changes in proportion to fast and slow components of gating current in squid axon","Copyright for this collection cannot be determined. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of University Libraries. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","Documents pertaining to FSU biology professor Dr. Dexter M. Easton's professional and personal life, from his childhood in the 1930s through his death in 2010. Includes documents pertaining to his education, his scientific research, and his work as a university professor.","FSU Special Collections \u0026 Archives","Easton, Dexter M.","Easton, Dexter M. (Dexter Morgan), 1921-2010","English"],"unitid_tesim":["MSS 2010-1209","/repositories/10/resources/68"],"normalized_date_ssm":["1945-2010, Date acquired: 12/09/2010"],"normalized_title_ssm":["Dexter M. Easton Papers, 1945-2010, Date acquired: 12/09/2010"],"collection_title_tesim":["Dexter M. Easton Papers, 1945-2010, Date acquired: 12/09/2010"],"collection_ssim":["Dexter M. 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Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["Gift of Matthew Easton, son of Dexter Easton.","Transferred from Dexter Easton's home to Special Collections on December 9-10, 2010."],"access_subjects_ssim":["Biology.","Physiology.","Neurosciences.","Neurophysiology.","Neuromuscular transmission.","Biophysics.","Gars.","Crustacea.","Mathematics, Gompertz","Florida State University. Dept. of Biological Science","Harvard University--History.","University of Washington--History","Clark University (Worcester, Mass.)","Florida State University--Faculty"],"access_subjects_ssm":["Biology.","Physiology.","Neurosciences.","Neurophysiology.","Neuromuscular transmission.","Biophysics.","Gars.","Crustacea.","Mathematics, Gompertz","Florida State University. 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Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"custodhist_html_tesm":["\u003cp\u003eTransferred from Dexter Easton's home to Special Collections on December 9-10, 2010.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Transferred from Dexter Easton's home to Special Collections on December 9-10, 2010."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], Dexter M. Easton Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida\nhttps://purl.lib.fsu.edu/fa/MSS-1-03\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], Dexter M. Easton Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida\nhttps://purl.lib.fsu.edu/fa/MSS-1-03"],"scopecontent_html_tesm":["\u003cp\u003eThe collection includes correspondence with family, friends, students, and colleagues; lab notes covering over fifty years of ongoing research; manuscripts of papers and book, both published and unpublished; teaching materials including lecture notes and slides; conference posters; and personal documents recording his youth and private life. Most of the materials are printed or hand-written papers, along with a small number of scientific photographs and slides.\n\u003cbr\u003e\u003cbr\u003e\tExamples of topics covered in his professional work include: a) Gating charge voltage dependence on holding potential, predicted by expo-exponential model b) Na+ permeability change predicted proportional to gating current c) X-ray survival as Gompertz growth in number killed d) Muscle chamber with strain gauge adapted for isotonic/isometric recording e) Macroscopic INa changes in proportion to fast and slow components of gating current in squid axon\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection includes correspondence with family, friends, students, and colleagues; lab notes covering over fifty years of ongoing research; manuscripts of papers and book, both published and unpublished; teaching materials including lecture notes and slides; conference posters; and personal documents recording his youth and private life. Most of the materials are printed or hand-written papers, along with a small number of scientific photographs and slides.\n \tExamples of topics covered in his professional work include: a) Gating charge voltage dependence on holding potential, predicted by expo-exponential model b) Na+ permeability change predicted proportional to gating current c) X-ray survival as Gompertz growth in number killed d) Muscle chamber with strain gauge adapted for isotonic/isometric recording e) Macroscopic INa changes in proportion to fast and slow components of gating current in squid axon"],"userestrict_html_tesm":["\u003cp\u003eCopyright for this collection cannot be determined. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of University Libraries. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright for this collection cannot be determined. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of University Libraries. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ef3d6acf0f45483dc2688994c8216df9\" label=\"Abstract\"\u003eDocuments pertaining to FSU biology professor Dr. Dexter M. Easton's professional and personal life, from his childhood in the 1930s through his death in 2010. Includes documents pertaining to his education, his scientific research, and his work as a university professor.\u003c/abstract\u003e"],"abstract_tesim":["Documents pertaining to FSU biology professor Dr. Dexter M. Easton's professional and personal life, from his childhood in the 1930s through his death in 2010. Includes documents pertaining to his education, his scientific research, and his work as a university professor."],"names_ssim":["FSU Special Collections \u0026 Archives","Easton, Dexter M.","Easton, Dexter M. (Dexter Morgan), 1921-2010"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"names_coll_ssim":["Easton, Dexter M. (Dexter Morgan), 1921-2010"],"persname_ssim":["Easton, Dexter M.","Easton, Dexter M. 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Buy U.S. Government Bonds.","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","World War I Posters","Item 8","/repositories/2/archival_objects/82064","Hand-colored illustration."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179818","18ce43a3c782b797db9fa781_aspace_176244"],"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","World War I Posters"],"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","World War I Posters"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 8","/repositories/2/archival_objects/82064"],"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":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":644,"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."],"scopecontent_html_tesm":["\u003cp\u003eHand-colored illustration.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hand-colored illustration."],"_nest_path_":"/components#16/components#3/components#7","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_176244","_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_176252"}},{"id":"632b627b03e7762cd9deea62_aspace_39345","type":"File","attributes":{"title":"3rd Miami Graphics Biennial, 1977 November 26 - January 2","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/632b627b03e7762cd9deea62_aspace_39345#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_39345","ref_ssm":["aspace_39345","aspace_39345"],"id":"632b627b03e7762cd9deea62_aspace_39345","title_filing_ssi":"3rd Miami Graphics Biennial","title_ssm":["3rd Miami Graphics Biennial"],"title_tesim":["3rd Miami Graphics Biennial"],"unitdate_other_ssim":["1977 November 26 - January 2"],"normalized_date_ssm":["1977 November 26 - January 2"],"normalized_title_ssm":["3rd Miami Graphics Biennial, 1977 November 26 - January 2"],"text":["3rd Miami Graphics Biennial, 1977 November 26 - January 2","Miami Metropolitan Museum and Art Center Collection, 1968-1988","Box 2","Folder 31","/repositories/2/archival_objects/66581","folder 31"],"component_level_isim":[2],"parent_ids_ssim":["632b627b03e7762cd9deea62","632b627b03e7762cd9deea62_aspace_39314"],"parent_unittitles_ssm":["Miami Metropolitan Museum and Art Center Collection, 1968-1988","Box 2"],"parent_unittitles_tesim":["Miami Metropolitan Museum and Art Center Collection, 1968-1988","Box 2"],"parent_levels_ssm":["collection","Other level"],"unitid_ssm":["Folder 31","/repositories/2/archival_objects/66581"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Miami Metropolitan Museum and Art Center Collection, 1968-1988"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":74,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["Rights: In copyright. 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FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.","For more information please visit: https://library.fiu.edu/find/copyright/general"],"containers_ssim":["folder 31"],"_nest_path_":"/components#1/components#30","_nest_parent_":"632b627b03e7762cd9deea62_aspace_39314","_root_":"632b627b03e7762cd9deea62","_version_":1872203331105980416,"timestamp":"2026-07-31T04:30:31.956Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"632b627b03e7762cd9deea62","title_ssm":["Miami Metropolitan Museum and Art Center Collection"],"title_tesim":["Miami Metropolitan Museum and Art Center Collection"],"ead_ssi":"632b627b03e7762cd9deea62","unitdate_ssm":["1968-1988"],"unitdate_inclusive_ssm":["1968-1988"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC4080","/repositories/2/resources/76"],"text":["SPC4080","/repositories/2/resources/76","Miami Metropolitan Museum and Art Center Collection, 1968-1988","Metropolitan Museum and Art Centers- Art Collections","Metropolitan Museum and Art Centers- Manuscript collections","The collection is open for research.","When the Metropolitan Museum and Art Center (MMAC) closed in 1989, the Art Museum at Florida International University acquired the collection of over 2,300 objects, such as sculptures, photographs, paintings, and other significant cultural artifacts from around the world spanning from the 18th to the 20th century. Such works came from renowned artists William Merritt Chase, Eadweard Muybridge, Rufino Tamayo, Duane Hanson, and Agustin Fernandez. MMAC's formation began in the early 1960s when a group of art enthusiasts brought renowned artists such as Robert Motherwell, James Brooks and Josef Albers to Miami for seminars and workshops.  The Lowe Gallery at the University of Miami agreed to provide space for these art activities.  Within a year, the group founded the Arts Council, Inc. and moved to a larger space in Kendall. Throughout the 1960's the program continued to grow and began exhibiting and collecting works of art and became a not-for profit organization changing its name to Miami Art Center (MAC). In 1973, MAC merged with the Miami Museum of Modern Art to form the Metropolitan Museum and Art Center.  In 1975, MMAC moved from Kendall to the historic Biltmore Country Club in Coral Gables and continued to present premier exhibitions of a variety of collections including local, national, and international collections.","This collection contains documents including but not limited to exhibit brochures, video gallery exhibitions, select artifacts from sunken ships, photographs, sculptures, and prints. This includes the Quicksilver Galleons believed to have sunk near the Dominican Republic in the early 18th century. Additionally, these archives are not limited to Latin America, but do contain select workings from the Far East, such as Japanese ceramic art.","Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","English"],"unitid_tesim":["SPC4080","/repositories/2/resources/76"],"normalized_date_ssm":["1968-1988"],"normalized_title_ssm":["Miami Metropolitan Museum and Art Center Collection, 1968-1988"],"collection_title_tesim":["Miami Metropolitan Museum and Art Center Collection, 1968-1988"],"collection_ssim":["Miami Metropolitan Museum and Art Center Collection, 1968-1988"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.","For more information please visit: https://library.fiu.edu/find/copyright/general"],"access_subjects_ssim":["Metropolitan Museum and Art Centers- Art Collections","Metropolitan Museum and Art Centers- Manuscript collections"],"access_subjects_ssm":["Metropolitan Museum and Art Centers- Art Collections","Metropolitan Museum and Art Centers- Manuscript collections"],"has_online_content_ssim":["false"],"extent_ssm":["17.00 boxes"],"extent_tesim":["17.00 boxes"],"date_range_isim":[1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eWhen the Metropolitan Museum and Art Center (MMAC) closed in 1989, the Art Museum at Florida International University acquired the collection of over 2,300 objects, such as sculptures, photographs, paintings, and other significant cultural artifacts from around the world spanning from the 18th to the 20th century. Such works came from renowned artists William Merritt Chase, Eadweard Muybridge, Rufino Tamayo, Duane Hanson, and Agustin Fernandez. MMAC's formation began in the early 1960s when a group of art enthusiasts brought renowned artists such as Robert Motherwell, James Brooks and Josef Albers to Miami for seminars and workshops.  The Lowe Gallery at the University of Miami agreed to provide space for these art activities.  Within a year, the group founded the Arts Council, Inc. and moved to a larger space in Kendall. Throughout the 1960's the program continued to grow and began exhibiting and collecting works of art and became a not-for profit organization changing its name to Miami Art Center (MAC). In 1973, MAC merged with the Miami Museum of Modern Art to form the Metropolitan Museum and Art Center.  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The Lowe Gallery at the University of Miami agreed to provide space for these art activities.  Within a year, the group founded the Arts Council, Inc. and moved to a larger space in Kendall. Throughout the 1960's the program continued to grow and began exhibiting and collecting works of art and became a not-for profit organization changing its name to Miami Art Center (MAC). In 1973, MAC merged with the Miami Museum of Modern Art to form the Metropolitan Museum and Art Center.  In 1975, MMAC moved from Kendall to the historic Biltmore Country Club in Coral Gables and continued to present premier exhibitions of a variety of collections including local, national, and international collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains documents including but not limited to exhibit brochures, video gallery exhibitions, select artifacts from sunken ships, photographs, sculptures, and prints. 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FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":909,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1872203331105980416,"_root_":"632b627b03e7762cd9deea62","timestamp":"2026-07-31T04:30:31.956Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/632b627b03e7762cd9deea62_aspace_39345"}},{"id":"632b627b03e7762cd9deea62_aspace_39647","type":"File","attributes":{"title":"3rd Miami Graphics Biennial Catalog, 1977 November 19 - 1978 January 2","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/632b627b03e7762cd9deea62_aspace_39647#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_39647","ref_ssm":["aspace_39647","aspace_39647"],"id":"632b627b03e7762cd9deea62_aspace_39647","title_filing_ssi":"3rd Miami Graphics Biennial Catalog      ","title_ssm":["3rd Miami Graphics Biennial Catalog      "],"title_tesim":["3rd Miami Graphics Biennial Catalog      "],"unitdate_inclusive_ssm":["1977 November 19 - 1978 January 2"],"normalized_date_ssm":["1977 November 19 - 1978 January 2"],"normalized_title_ssm":["3rd Miami Graphics Biennial Catalog, 1977 November 19 - 1978 January 2"],"text":["3rd Miami Graphics Biennial Catalog, 1977 November 19 - 1978 January 2","Miami Metropolitan Museum and Art Center Collection, 1968-1988","Box 12","Folder 4","/repositories/2/archival_objects/66366","folder 4"],"component_level_isim":[2],"parent_ids_ssim":["632b627b03e7762cd9deea62","632b627b03e7762cd9deea62_aspace_39643"],"parent_unittitles_ssm":["Miami Metropolitan Museum and Art Center Collection, 1968-1988","Box 12"],"parent_unittitles_tesim":["Miami Metropolitan Museum and Art Center Collection, 1968-1988","Box 12"],"parent_levels_ssm":["collection","Other level"],"unitid_ssm":["Folder 4","/repositories/2/archival_objects/66366"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Miami Metropolitan Museum and Art Center Collection, 1968-1988"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":376,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["Rights: In copyright. 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FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.","For more information please visit: https://library.fiu.edu/find/copyright/general"],"access_subjects_ssim":["Metropolitan Museum and Art Centers- Art Collections","Metropolitan Museum and Art Centers- Manuscript collections"],"access_subjects_ssm":["Metropolitan Museum and Art Centers- Art Collections","Metropolitan Museum and Art Centers- Manuscript collections"],"has_online_content_ssim":["false"],"extent_ssm":["17.00 boxes"],"extent_tesim":["17.00 boxes"],"date_range_isim":[1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eWhen the Metropolitan Museum and Art Center (MMAC) closed in 1989, the Art Museum at Florida International University acquired the collection of over 2,300 objects, such as sculptures, photographs, paintings, and other significant cultural artifacts from around the world spanning from the 18th to the 20th century. 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The Lowe Gallery at the University of Miami agreed to provide space for these art activities.  Within a year, the group founded the Arts Council, Inc. and moved to a larger space in Kendall. Throughout the 1960's the program continued to grow and began exhibiting and collecting works of art and became a not-for profit organization changing its name to Miami Art Center (MAC). In 1973, MAC merged with the Miami Museum of Modern Art to form the Metropolitan Museum and Art Center.  In 1975, MMAC moved from Kendall to the historic Biltmore Country Club in Coral Gables and continued to present premier exhibitions of a variety of collections including local, national, and international collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains documents including but not limited to exhibit brochures, video gallery exhibitions, select artifacts from sunken ships, photographs, sculptures, and prints. This includes the Quicksilver Galleons believed to have sunk near the Dominican Republic in the early 18th century. Additionally, these archives are not limited to Latin America, but do contain select workings from the Far East, such as Japanese ceramic art.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains documents including but not limited to exhibit brochures, video gallery exhibitions, select artifacts from sunken ships, photographs, sculptures, and prints. This includes the Quicksilver Galleons believed to have sunk near the Dominican Republic in the early 18th century. Additionally, these archives are not limited to Latin America, but do contain select workings from the Far East, such as Japanese ceramic art."],"userestrict_html_tesm":["\u003cp\u003eRights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/\u003c/p\u003e\n","\u003cp\u003eSpecial Collections \u0026amp; University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.\u003c/p\u003e\n","\u003cp\u003eFor more information please visit: https://library.fiu.edu/find/copyright/general\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. 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FIU Special Collections will provide all available information about the copyright holder of materials found in our collections.","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":909,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1872203331105980416,"_root_":"632b627b03e7762cd9deea62","timestamp":"2026-07-31T04:30:31.956Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/632b627b03e7762cd9deea62_aspace_39647"}},{"id":"83f92d0a0a882d51dcaee274_aspace_598cab7dd9a6be46d7682ede62e93bc2","type":"File","attributes":{"title":"3rd NOPC, 2002","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/83f92d0a0a882d51dcaee274_aspace_598cab7dd9a6be46d7682ede62e93bc2#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_598cab7dd9a6be46d7682ede62e93bc2","ref_ssm":["aspace_598cab7dd9a6be46d7682ede62e93bc2","aspace_598cab7dd9a6be46d7682ede62e93bc2"],"id":"83f92d0a0a882d51dcaee274_aspace_598cab7dd9a6be46d7682ede62e93bc2","title_filing_ssi":"3rd NOPC","title_ssm":["3rd NOPC"],"title_tesim":["3rd NOPC"],"unitdate_other_ssim":["2002"],"normalized_date_ssm":["2002"],"normalized_title_ssm":["3rd NOPC, 2002"],"text":["3rd NOPC, 2002","Southwest Florida Regional Planning Council Collection, 1920-2020","Timberland and Tiburon","Modification, 1985-2018","/repositories/2/archival_objects/41954","Notice Of Proposed Change (NOPC)","English","box 133","folder 42"],"component_level_isim":[3],"parent_ids_ssim":["83f92d0a0a882d51dcaee274","83f92d0a0a882d51dcaee274_aspace_6ed337a94716ce542c78a51c7806f6f9","83f92d0a0a882d51dcaee274_aspace_701e43de4553eb1d928f28e192c16605"],"parent_unittitles_ssm":["Southwest Florida Regional Planning Council Collection, 1920-2020","Timberland and Tiburon","Modification, 1985-2018"],"parent_unittitles_tesim":["Southwest Florida Regional Planning Council Collection, 1920-2020","Timberland and Tiburon","Modification, 1985-2018"],"parent_levels_ssm":["collection","Series","Subgroup"],"unitid_ssm":["/repositories/2/archival_objects/41954"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"collection_ssim":["Southwest Florida Regional Planning Council Collection, 1920-2020"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":4524,"parent_access_restrict_tesm":["The collection is open for use by the public."],"date_range_isim":[2002],"access_subjects_ssim":["Notice Of Proposed Change (NOPC)"],"access_subjects_ssm":["Notice Of Proposed Change (NOPC)"],"language_ssim":["English"],"containers_ssim":["box 133","folder 42"],"_nest_path_":"/components#97/components#2/components#16","_nest_parent_":"83f92d0a0a882d51dcaee274_aspace_701e43de4553eb1d928f28e192c16605","_root_":"83f92d0a0a882d51dcaee274","_version_":1879903291767259136,"timestamp":"2026-10-24T04:18:06.636Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"83f92d0a0a882d51dcaee274","title_ssm":["Southwest Florida Regional Planning Council Collection"],"title_tesim":["Southwest Florida Regional Planning Council Collection"],"ead_ssi":"83f92d0a0a882d51dcaee274","unitdate_ssm":["1920-2020"],"unitdate_inclusive_ssm":["1920-2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["02.03.11","/repositories/2/resources/69"],"text":["02.03.11","/repositories/2/resources/69","Southwest Florida Regional Planning Council Collection, 1920-2020","Urban Planning","Environmental planning","The collection is open for use by the public.","Oversized maps within the Southwest Regional Planning Council are published and described in the  Southwest Florida Map Collection .","Southwest Florida (SWFL) has a unique environmental ecosystem consisting of preserves, sanctuaries, swamps, estuaries, and coastlines. The Southwest Florida Regional Planning Council Collection offers an extensive array of documents, reports, maps, and materials documenting the development and conservation of the SWFL region from the Southwest Florida Regional Planning Council.","Florida Gulf Coast University Special Collections","Southwest Florida Regional Planning Council","English"],"unitid_tesim":["02.03.11","/repositories/2/resources/69"],"normalized_date_ssm":["1920-2020"],"normalized_title_ssm":["Southwest Florida Regional Planning Council Collection, 1920-2020"],"collection_title_tesim":["Southwest Florida Regional Planning Council Collection, 1920-2020"],"collection_ssim":["Southwest Florida Regional Planning Council Collection, 1920-2020"],"repository_ssm":["Florida Gulf Coast University Special Collections"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"geogname_ssm":["Urban Planning"],"geogname_ssim":["Urban Planning"],"creator_ssm":["Southwest Florida Regional Planning Council"],"creator_ssim":["Southwest Florida Regional Planning Council"],"creator_corpname_ssim":["Southwest Florida Regional Planning Council"],"creators_ssim":["Southwest Florida Regional Planning Council"],"places_ssim":["Urban Planning"],"access_subjects_ssim":["Environmental planning"],"access_subjects_ssm":["Environmental planning"],"has_online_content_ssim":["false"],"extent_ssm":["408 Linear Feet"],"extent_tesim":["408 Linear Feet"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for use by the public.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for use by the public."],"relatedmaterial_html_tesm":["\u003cp\u003eOversized maps within the Southwest Regional Planning Council are published and described in the \u003ca href=\"https://archives.fgcu.edu/archival_objects/rpcmaps\"\u003eSouthwest Florida Map Collection\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Oversized maps within the Southwest Regional Planning Council are published and described in the  Southwest Florida Map Collection ."],"scopecontent_html_tesm":["\u003cp\u003eSouthwest Florida (SWFL) has a unique environmental ecosystem consisting of preserves, sanctuaries, swamps, estuaries, and coastlines. 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Researchers requesting access much sign a \"access agreement\" form before using the audio from these interviews."],"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."],"containers_ssim":["box 44","folder 1"],"_nest_path_":"/components#3/components#18/components#0","_nest_parent_":"889b65a67fe6306550dd539e_aspace_114661","_root_":"889b65a67fe6306550dd539e","_version_":1870863055208841216,"timestamp":"2026-07-16T09:27:25.177Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"889b65a67fe6306550dd539e","title_ssm":["Suchoff-Antokoletz collection of Bartokiana"],"title_tesim":["Suchoff-Antokoletz collection of Bartokiana"],"ead_ssi":"889b65a67fe6306550dd539e","unitdate_ssm":["1945-2002","Date acquired: 07/25/2001"],"unitdate_inclusive_ssm":["1945-2002"],"unitdate_other_ssim":["Date acquired: 07/25/2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2001-06","/repositories/2/resources/420"],"text":["MS-2001-06","/repositories/2/resources/420","Suchoff-Antokoletz collection of Bartokiana, 1945-2002, Date acquired: 07/25/2001","Ethnomusicology -- Hungary -- History","Folk Music -- Hungary -- History and criticism","Ethnomusicology -- United States -- History","Composers","Suchoff interviews with Leafstedt are only accessible through reading room access. Researchers requesting access much sign a \"access agreement\" form before using the audio from these interviews.","Benjamin Suchoff interview transcripts and cassette tapes were donated by Carl Leafstedt in 2025.","The collection is arranged in series by subject:","1.  Bartók Estate Records","2.  Suchoff Research on Bartók","3.  Works of Béla Bartók","4.  Antokoletz Research on Bartók","Dr. Benjamin Suchoff (1918-2011) attended Cornell University, Julliard School of Music, and received a doctorate from New York University. During World War II, he served in the United States Army, enlisting in 1941 as a private. He was an accomplished pianist in both classical and jazz. He went on to become Professor of Ethnomusicology at UCLA and a recognized world authority on composer Béla Bartók, for whose estate he served as a curator and trustee. He has written numerous books and articles on Béla Bartók, as well as on topics in Ethnomusicology. He died in Palm Beach, Florida in March of 2011.","Obituary,  Palm Beach Post,  March 15, 2011.  http://www.legacy.com/obituaries/palmbeachpost/obituary.aspx?n=benjamin-suchoff\u0026pid=149133562#fbLoggedOut","Note written by Kevin Arms, 2013","Antokoletz, Elliott, and Paolo Susanni.  Béla Bartók: A Research and Information Guide . New York: Routledge, 2011. Internet resource.","http://www.usf.eblib.com/patron/FullRecord.aspx?p=668794","Antokoletz, Elliott.  Rhythmic Form in Three of Bartók's String Quartets . , 1970. Print.","Antokoletz, Elliott.  Principles of Pitch Organization in Bartók's Fourth String Quartet . , 1980. Print.","Antokoletz, Elliott.  Béla Bartók: A Guide to Research . New York: Garland Pub, 1988. Print.","Antokoletz, Elliott.  The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music . Berkeley: University of California Press, 1989. Print.","Bartók, Béla, and Benjamin Suchoff.  Béla Bartók Essays . Lincoln: University of Nebraska Press, 1993. Print.","Suchoff, Benjamin.  Béla Bartók and a Guide to the Mikrokosmos . , 1956. Print.","Suchoff, Benjamin.  Bartók, Concerto for Orchestra: Understanding Bartók's World . New York: Schirmer Books, 1995. Print.","Suchoff, Benjamin.  Béla Bartók: Life and Work . Lanham, Md: Scarecrow Press, 2001. Print","Suchoff, Benjamin.  Béla Bartók: A Celebration . Lanham, Md: Scarecrow Press, 2004. Print.","Suchoff, Benjamin.  Background and Sources of Bartók's Concerto for Orchestra . Frankfurt-am-Main: Peter Lang, 2006. Print.","This collection contains research, manuscripts, interviews, articles, and letters concerning composer Béla Bartók (1881–1945), as collected by Dr. Benjamin Suchoff and Dr. Elliott Antokoletz. The collection features 25 boxes of selected works of the composer and includes analyses by Dr. Suchoff as well as full manuscripts of certain works with sheet music. Also contained within the collection are miscellaneous papers and documents pertaining to the Estate of Béla Bartók and Dr. Suchoff's personal papers from his time as Trustee to the Estate after the death of the former Trustee, Viktor Bader. 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He has written numerous books and articles on Béla Bartók, as well as on topics in Ethnomusicology. He died in Palm Beach, Florida in March of 2011.","Obituary,  Palm Beach Post,  March 15, 2011.  http://www.legacy.com/obituaries/palmbeachpost/obituary.aspx?n=benjamin-suchoff\u0026pid=149133562#fbLoggedOut","Note written by Kevin Arms, 2013"],"prefercite_html_tesm":["\u003cp\u003eBenjamin Suchoff Collection of Bartokiana, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Benjamin Suchoff Collection of Bartokiana, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eAntokoletz, Elliott, and Paolo Susanni. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k: A Research and Information Guide\u003c/emph\u003e. New York: Routledge, 2011. Internet resource.\u003c/p\u003e\n","\u003cp\u003ehttp://www.usf.eblib.com/patron/FullRecord.aspx?p=668794\u003c/p\u003e","\u003cp\u003eAntokoletz, Elliott. \u003cemph render=\"italic\"\u003eRhythmic Form in Three of Barto\u0026#x301;k's String Quartets\u003c/emph\u003e. , 1970. Print.\u003c/p\u003e\n","\u003cp\u003eAntokoletz, Elliott. \u003cemph render=\"italic\"\u003ePrinciples of Pitch Organization in Barto\u0026#x301;k's Fourth String Quartet\u003c/emph\u003e. , 1980. Print.\u003c/p\u003e\n","\u003cp\u003eAntokoletz, Elliott. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k: A Guide to Research\u003c/emph\u003e. New York: Garland Pub, 1988. Print.\u003c/p\u003e\n","\u003cp\u003eAntokoletz, Elliott. \u003cemph render=\"italic\"\u003eThe Music of Be\u0026#x301;la Barto\u0026#x301;k: A Study of Tonality and Progression in Twentieth-Century Music\u003c/emph\u003e. Berkeley: University of California Press, 1989. Print.\u003c/p\u003e\n","\u003cp\u003eBarto\u0026#x301;k, Be\u0026#x301;la, and Benjamin Suchoff. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k Essays\u003c/emph\u003e. Lincoln: University of Nebraska Press, 1993. Print.\u003c/p\u003e\n","\u003cp\u003eSuchoff, Benjamin. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k and a Guide to the Mikrokosmos\u003c/emph\u003e. , 1956. Print.\u003c/p\u003e\n","\u003cp\u003eSuchoff, Benjamin. \u003cemph render=\"italic\"\u003eBarto\u0026#x301;k, Concerto for Orchestra: Understanding Barto\u0026#x301;k's World\u003c/emph\u003e. New York: Schirmer Books, 1995. Print.\u003c/p\u003e\n","\u003cp\u003eSuchoff, Benjamin. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k: Life and Work\u003c/emph\u003e. Lanham, Md: Scarecrow Press, 2001. Print\u003c/p\u003e\n","\u003cp\u003eSuchoff, Benjamin. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k: A Celebration\u003c/emph\u003e. Lanham, Md: Scarecrow Press, 2004. Print.\u003c/p\u003e\n","\u003cp\u003eSuchoff, Benjamin. \u003cemph render=\"italic\"\u003eBackground and Sources of Barto\u0026#x301;k's Concerto for Orchestra\u003c/emph\u003e. Frankfurt-am-Main: Peter Lang, 2006. Print.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Publications"],"relatedmaterial_tesim":["Antokoletz, Elliott, and Paolo Susanni.  Béla Bartók: A Research and Information Guide . New York: Routledge, 2011. Internet resource.","http://www.usf.eblib.com/patron/FullRecord.aspx?p=668794","Antokoletz, Elliott.  Rhythmic Form in Three of Bartók's String Quartets . , 1970. Print.","Antokoletz, Elliott.  Principles of Pitch Organization in Bartók's Fourth String Quartet . , 1980. Print.","Antokoletz, Elliott.  Béla Bartók: A Guide to Research . New York: Garland Pub, 1988. Print.","Antokoletz, Elliott.  The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music . Berkeley: University of California Press, 1989. Print.","Bartók, Béla, and Benjamin Suchoff.  Béla Bartók Essays . Lincoln: University of Nebraska Press, 1993. Print.","Suchoff, Benjamin.  Béla Bartók and a Guide to the Mikrokosmos . , 1956. Print.","Suchoff, Benjamin.  Bartók, Concerto for Orchestra: Understanding Bartók's World . New York: Schirmer Books, 1995. Print.","Suchoff, Benjamin.  Béla Bartók: Life and Work . Lanham, Md: Scarecrow Press, 2001. Print","Suchoff, Benjamin.  Béla Bartók: A Celebration . Lanham, Md: Scarecrow Press, 2004. Print.","Suchoff, Benjamin.  Background and Sources of Bartók's Concerto for Orchestra . Frankfurt-am-Main: Peter Lang, 2006. Print."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains research, manuscripts, interviews, articles, and letters concerning composer B\u0026#xE9;la Bart\u0026#xF3;k (1881\u0026#x2013;1945), as collected by Dr. Benjamin Suchoff and Dr. Elliott Antokoletz. The collection features 25 boxes of selected works of the composer and includes analyses by Dr. Suchoff as well as full manuscripts of certain works with sheet music. Also contained within the collection are miscellaneous papers and documents pertaining to the Estate of B\u0026#xE9;la Bart\u0026#xF3;k and Dr. Suchoff's personal papers from his time as Trustee to the Estate after the death of the former Trustee, Viktor Bader. Finally, the collection contains the lecture notes and recordings of Dr. Elliott Antokoletz's work on B\u0026#xE9;la Bart\u0026#xF3;k and his research for his book \u003cemph render=\"italic\"\u003eMusical Symbolism in the Operas of Debussy and Bart\u0026#xF3;k.\u003c/emph\u003e\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains research, manuscripts, interviews, articles, and letters concerning composer Béla Bartók (1881–1945), as collected by Dr. Benjamin Suchoff and Dr. Elliott Antokoletz. The collection features 25 boxes of selected works of the composer and includes analyses by Dr. Suchoff as well as full manuscripts of certain works with sheet music. Also contained within the collection are miscellaneous papers and documents pertaining to the Estate of Béla Bartók and Dr. Suchoff's personal papers from his time as Trustee to the Estate after the death of the former Trustee, Viktor Bader. Finally, the collection contains the lecture notes and recordings of Dr. Elliott Antokoletz's work on Béla Bartók and his research for his book  Musical Symbolism in the Operas of Debussy and Bartók."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_bca246a4a4ab1d71cf129cab0ccd4011\" label=\"Abstract\"\u003eA collection of research and other documents concerning composer B\u0026#xE9;la Bart\u0026#xF3;k (1881-1945).\u003c/abstract\u003e"],"abstract_tesim":["A collection of research and other documents concerning composer Béla Bartók (1881-1945)."],"names_ssim":["USF Libraries - Tampa Special Collections","Suchoff, Benjamin, Dr. (1918-2011)","Antokoletz, Elliott (1942-)","Bartok, Bela (1881-1945)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"names_coll_ssim":["Bartok, Bela (1881-1945)"],"persname_ssim":["Suchoff, Benjamin, Dr. (1918-2011)","Antokoletz, Elliott (1942-)","Bartok, Bela (1881-1945)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":742,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870863055208841216,"_root_":"889b65a67fe6306550dd539e","timestamp":"2026-07-16T09:27:25.177Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/889b65a67fe6306550dd539e_aspace_114662"}},{"id":"889b65a67fe6306550dd539e_aspace_114663","type":"File","attributes":{"title":"3rd Piano Concerto - Articles","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/889b65a67fe6306550dd539e_aspace_114663#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_114663","ref_ssm":["aspace_114663","aspace_114663"],"id":"889b65a67fe6306550dd539e_aspace_114663","title_filing_ssi":"3rd Piano Concerto - Articles","title_ssm":["3rd Piano Concerto - Articles"],"title_tesim":["3rd Piano Concerto - Articles"],"normalized_title_ssm":["3rd Piano Concerto - Articles"],"text":["3rd Piano Concerto - Articles","Suchoff-Antokoletz collection of Bartokiana, 1945-2002, Date acquired: 07/25/2001","Selected Works of Béla Bartók","Selected Works of Béla Bartók - 3rd Piano Concerto, Viola Concerto","Folder 2","/repositories/2/archival_objects/92699","box 44","folder 2"],"component_level_isim":[3],"parent_ids_ssim":["889b65a67fe6306550dd539e","889b65a67fe6306550dd539e_aspace_114754","889b65a67fe6306550dd539e_aspace_114661"],"parent_unittitles_ssm":["Suchoff-Antokoletz collection of Bartokiana, 1945-2002, Date acquired: 07/25/2001","Selected Works of Béla Bartók","Selected Works of Béla Bartók - 3rd Piano Concerto, Viola Concerto"],"parent_unittitles_tesim":["Suchoff-Antokoletz collection of Bartokiana, 1945-2002, Date acquired: 07/25/2001","Selected Works of Béla Bartók","Selected Works of Béla Bartók - 3rd Piano Concerto, Viola Concerto"],"parent_levels_ssm":["collection","Series","Box"],"unitid_ssm":["Folder 2","/repositories/2/archival_objects/92699"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Suchoff-Antokoletz collection of Bartokiana, 1945-2002, Date acquired: 07/25/2001"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":672,"parent_access_restrict_tesm":["Suchoff interviews with Leafstedt are only accessible through reading room access. Researchers requesting access much sign a \"access agreement\" form before using the audio from these interviews."],"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."],"containers_ssim":["box 44","folder 2"],"_nest_path_":"/components#3/components#18/components#1","_nest_parent_":"889b65a67fe6306550dd539e_aspace_114661","_root_":"889b65a67fe6306550dd539e","_version_":1870863055208841216,"timestamp":"2026-07-16T09:27:25.177Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"889b65a67fe6306550dd539e","title_ssm":["Suchoff-Antokoletz collection of Bartokiana"],"title_tesim":["Suchoff-Antokoletz collection of Bartokiana"],"ead_ssi":"889b65a67fe6306550dd539e","unitdate_ssm":["1945-2002","Date acquired: 07/25/2001"],"unitdate_inclusive_ssm":["1945-2002"],"unitdate_other_ssim":["Date acquired: 07/25/2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2001-06","/repositories/2/resources/420"],"text":["MS-2001-06","/repositories/2/resources/420","Suchoff-Antokoletz collection of Bartokiana, 1945-2002, Date acquired: 07/25/2001","Ethnomusicology -- Hungary -- History","Folk Music -- Hungary -- History and criticism","Ethnomusicology -- United States -- History","Composers","Suchoff interviews with Leafstedt are only accessible through reading room access. Researchers requesting access much sign a \"access agreement\" form before using the audio from these interviews.","Benjamin Suchoff interview transcripts and cassette tapes were donated by Carl Leafstedt in 2025.","The collection is arranged in series by subject:","1.  Bartók Estate Records","2.  Suchoff Research on Bartók","3.  Works of Béla Bartók","4.  Antokoletz Research on Bartók","Dr. Benjamin Suchoff (1918-2011) attended Cornell University, Julliard School of Music, and received a doctorate from New York University. During World War II, he served in the United States Army, enlisting in 1941 as a private. He was an accomplished pianist in both classical and jazz. He went on to become Professor of Ethnomusicology at UCLA and a recognized world authority on composer Béla Bartók, for whose estate he served as a curator and trustee. He has written numerous books and articles on Béla Bartók, as well as on topics in Ethnomusicology. He died in Palm Beach, Florida in March of 2011.","Obituary,  Palm Beach Post,  March 15, 2011.  http://www.legacy.com/obituaries/palmbeachpost/obituary.aspx?n=benjamin-suchoff\u0026pid=149133562#fbLoggedOut","Note written by Kevin Arms, 2013","Antokoletz, Elliott, and Paolo Susanni.  Béla Bartók: A Research and Information Guide . New York: Routledge, 2011. Internet resource.","http://www.usf.eblib.com/patron/FullRecord.aspx?p=668794","Antokoletz, Elliott.  Rhythmic Form in Three of Bartók's String Quartets . , 1970. Print.","Antokoletz, Elliott.  Principles of Pitch Organization in Bartók's Fourth String Quartet . , 1980. Print.","Antokoletz, Elliott.  Béla Bartók: A Guide to Research . New York: Garland Pub, 1988. Print.","Antokoletz, Elliott.  The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music . Berkeley: University of California Press, 1989. Print.","Bartók, Béla, and Benjamin Suchoff.  Béla Bartók Essays . Lincoln: University of Nebraska Press, 1993. Print.","Suchoff, Benjamin.  Béla Bartók and a Guide to the Mikrokosmos . , 1956. Print.","Suchoff, Benjamin.  Bartók, Concerto for Orchestra: Understanding Bartók's World . New York: Schirmer Books, 1995. Print.","Suchoff, Benjamin.  Béla Bartók: Life and Work . Lanham, Md: Scarecrow Press, 2001. Print","Suchoff, Benjamin.  Béla Bartók: A Celebration . Lanham, Md: Scarecrow Press, 2004. Print.","Suchoff, Benjamin.  Background and Sources of Bartók's Concerto for Orchestra . Frankfurt-am-Main: Peter Lang, 2006. Print.","This collection contains research, manuscripts, interviews, articles, and letters concerning composer Béla Bartók (1881–1945), as collected by Dr. Benjamin Suchoff and Dr. Elliott Antokoletz. The collection features 25 boxes of selected works of the composer and includes analyses by Dr. Suchoff as well as full manuscripts of certain works with sheet music. Also contained within the collection are miscellaneous papers and documents pertaining to the Estate of Béla Bartók and Dr. Suchoff's personal papers from his time as Trustee to the Estate after the death of the former Trustee, Viktor Bader. Finally, the collection contains the lecture notes and recordings of Dr. Elliott Antokoletz's work on Béla Bartók and his research for his book  Musical Symbolism in the Operas of Debussy and Bartók.","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.","A collection of research and other documents concerning composer Béla Bartók (1881-1945).","USF Libraries - Tampa Special Collections","Suchoff, Benjamin, Dr. (1918-2011)","Antokoletz, Elliott (1942-)","Bartok, Bela (1881-1945)","English"],"unitid_tesim":["MS-2001-06","/repositories/2/resources/420"],"normalized_date_ssm":["1945-2002, Date acquired: 07/25/2001"],"normalized_title_ssm":["Suchoff-Antokoletz collection of Bartokiana, 1945-2002, Date acquired: 07/25/2001"],"collection_title_tesim":["Suchoff-Antokoletz collection of Bartokiana, 1945-2002, Date acquired: 07/25/2001"],"collection_ssim":["Suchoff-Antokoletz collection of Bartokiana, 1945-2002, Date acquired: 07/25/2001"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Suchoff, Benjamin, Dr. (1918-2011)","Antokoletz, Elliott (1942-)"],"creator_ssim":["Suchoff, Benjamin, Dr. (1918-2011)","Antokoletz, Elliott (1942-)"],"creator_persname_ssim":["Suchoff, Benjamin, Dr. (1918-2011)","Antokoletz, Elliott (1942-)"],"creators_ssim":["Suchoff, Benjamin, Dr. (1918-2011)","Antokoletz, Elliott (1942-)"],"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":["Benjamin Suchoff","Donation."],"access_subjects_ssim":["Ethnomusicology -- Hungary -- History","Folk Music -- Hungary -- History and criticism","Ethnomusicology -- United States -- History","Composers"],"access_subjects_ssm":["Ethnomusicology -- Hungary -- History","Folk Music -- Hungary -- History and criticism","Ethnomusicology -- United States -- History","Composers"],"has_online_content_ssim":["false"],"extent_ssm":["24.8 Linear Feet","57 boxes"],"extent_tesim":["24.8 Linear Feet","57 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eSuchoff interviews with Leafstedt are only accessible through reading room access. Researchers requesting access much sign a \"access agreement\" form before using the audio from these interviews.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Suchoff interviews with Leafstedt are only accessible through reading room access. Researchers requesting access much sign a \"access agreement\" form before using the audio from these interviews."],"accruals_html_tesm":["\u003cp\u003eBenjamin Suchoff interview transcripts and cassette tapes were donated by Carl Leafstedt in 2025.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Benjamin Suchoff interview transcripts and cassette tapes were donated by Carl Leafstedt in 2025."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in series by subject:\u003c/p\u003e\n","\u003cp\u003e1.\u0026#xA0; Bart\u0026#xF3;k Estate Records\u003c/p\u003e\n","\u003cp\u003e2.\u0026#xA0; Suchoff Research on Bart\u0026#xF3;k\u003c/p\u003e\n","\u003cp\u003e3.\u0026#xA0; Works of B\u0026#xE9;la Bart\u0026#xF3;k\u003c/p\u003e\n","\u003cp\u003e4.\u0026#xA0; Antokoletz Research on Bart\u0026#xF3;k\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is arranged in series by subject:","1.  Bartók Estate Records","2.  Suchoff Research on Bartók","3.  Works of Béla Bartók","4.  Antokoletz Research on Bartók"],"bioghist_html_tesm":["\u003cp\u003eDr. Benjamin Suchoff (1918-2011) attended Cornell University, Julliard School of Music, and received a doctorate from New York University. During World War II, he served in the United States Army, enlisting in 1941 as a private. He was an accomplished pianist in both classical and jazz. He went on to become Professor of Ethnomusicology at UCLA and a recognized world authority on composer B\u0026#xE9;la Bart\u0026#xF3;k, for whose estate he served as a curator and trustee. He has written numerous books and articles on B\u0026#xE9;la Bart\u0026#xF3;k, as well as on topics in Ethnomusicology. He died in Palm Beach, Florida in March of 2011.\u003c/p\u003e\n","\u003cp\u003eObituary, \u003cemph render=\"italic\"\u003ePalm Beach Post, \u003c/emph\u003eMarch 15, 2011.\u0026#xA0; http://www.legacy.com/obituaries/palmbeachpost/obituary.aspx?n=benjamin-suchoff\u0026amp;pid=149133562#fbLoggedOut\u003c/p\u003e\n","\u003cp\u003eNote written by Kevin Arms, 2013\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Dr. Benjamin Suchoff (1918-2011) attended Cornell University, Julliard School of Music, and received a doctorate from New York University. During World War II, he served in the United States Army, enlisting in 1941 as a private. He was an accomplished pianist in both classical and jazz. He went on to become Professor of Ethnomusicology at UCLA and a recognized world authority on composer Béla Bartók, for whose estate he served as a curator and trustee. He has written numerous books and articles on Béla Bartók, as well as on topics in Ethnomusicology. He died in Palm Beach, Florida in March of 2011.","Obituary,  Palm Beach Post,  March 15, 2011.  http://www.legacy.com/obituaries/palmbeachpost/obituary.aspx?n=benjamin-suchoff\u0026pid=149133562#fbLoggedOut","Note written by Kevin Arms, 2013"],"prefercite_html_tesm":["\u003cp\u003eBenjamin Suchoff Collection of Bartokiana, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Benjamin Suchoff Collection of Bartokiana, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eAntokoletz, Elliott, and Paolo Susanni. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k: A Research and Information Guide\u003c/emph\u003e. New York: Routledge, 2011. Internet resource.\u003c/p\u003e\n","\u003cp\u003ehttp://www.usf.eblib.com/patron/FullRecord.aspx?p=668794\u003c/p\u003e","\u003cp\u003eAntokoletz, Elliott. \u003cemph render=\"italic\"\u003eRhythmic Form in Three of Barto\u0026#x301;k's String Quartets\u003c/emph\u003e. , 1970. Print.\u003c/p\u003e\n","\u003cp\u003eAntokoletz, Elliott. \u003cemph render=\"italic\"\u003ePrinciples of Pitch Organization in Barto\u0026#x301;k's Fourth String Quartet\u003c/emph\u003e. , 1980. Print.\u003c/p\u003e\n","\u003cp\u003eAntokoletz, Elliott. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k: A Guide to Research\u003c/emph\u003e. New York: Garland Pub, 1988. Print.\u003c/p\u003e\n","\u003cp\u003eAntokoletz, Elliott. \u003cemph render=\"italic\"\u003eThe Music of Be\u0026#x301;la Barto\u0026#x301;k: A Study of Tonality and Progression in Twentieth-Century Music\u003c/emph\u003e. Berkeley: University of California Press, 1989. Print.\u003c/p\u003e\n","\u003cp\u003eBarto\u0026#x301;k, Be\u0026#x301;la, and Benjamin Suchoff. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k Essays\u003c/emph\u003e. Lincoln: University of Nebraska Press, 1993. Print.\u003c/p\u003e\n","\u003cp\u003eSuchoff, Benjamin. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k and a Guide to the Mikrokosmos\u003c/emph\u003e. , 1956. Print.\u003c/p\u003e\n","\u003cp\u003eSuchoff, Benjamin. \u003cemph render=\"italic\"\u003eBarto\u0026#x301;k, Concerto for Orchestra: Understanding Barto\u0026#x301;k's World\u003c/emph\u003e. New York: Schirmer Books, 1995. Print.\u003c/p\u003e\n","\u003cp\u003eSuchoff, Benjamin. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k: Life and Work\u003c/emph\u003e. Lanham, Md: Scarecrow Press, 2001. Print\u003c/p\u003e\n","\u003cp\u003eSuchoff, Benjamin. \u003cemph render=\"italic\"\u003eBe\u0026#x301;la Barto\u0026#x301;k: A Celebration\u003c/emph\u003e. Lanham, Md: Scarecrow Press, 2004. Print.\u003c/p\u003e\n","\u003cp\u003eSuchoff, Benjamin. \u003cemph render=\"italic\"\u003eBackground and Sources of Barto\u0026#x301;k's Concerto for Orchestra\u003c/emph\u003e. Frankfurt-am-Main: Peter Lang, 2006. Print.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Publications"],"relatedmaterial_tesim":["Antokoletz, Elliott, and Paolo Susanni.  Béla Bartók: A Research and Information Guide . New York: Routledge, 2011. Internet resource.","http://www.usf.eblib.com/patron/FullRecord.aspx?p=668794","Antokoletz, Elliott.  Rhythmic Form in Three of Bartók's String Quartets . , 1970. Print.","Antokoletz, Elliott.  Principles of Pitch Organization in Bartók's Fourth String Quartet . , 1980. Print.","Antokoletz, Elliott.  Béla Bartók: A Guide to Research . New York: Garland Pub, 1988. Print.","Antokoletz, Elliott.  The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music . Berkeley: University of California Press, 1989. Print.","Bartók, Béla, and Benjamin Suchoff.  Béla Bartók Essays . Lincoln: University of Nebraska Press, 1993. Print.","Suchoff, Benjamin.  Béla Bartók and a Guide to the Mikrokosmos . , 1956. Print.","Suchoff, Benjamin.  Bartók, Concerto for Orchestra: Understanding Bartók's World . New York: Schirmer Books, 1995. Print.","Suchoff, Benjamin.  Béla Bartók: Life and Work . Lanham, Md: Scarecrow Press, 2001. Print","Suchoff, Benjamin.  Béla Bartók: A Celebration . Lanham, Md: Scarecrow Press, 2004. Print.","Suchoff, Benjamin.  Background and Sources of Bartók's Concerto for Orchestra . Frankfurt-am-Main: Peter Lang, 2006. Print."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains research, manuscripts, interviews, articles, and letters concerning composer B\u0026#xE9;la Bart\u0026#xF3;k (1881\u0026#x2013;1945), as collected by Dr. Benjamin Suchoff and Dr. Elliott Antokoletz. The collection features 25 boxes of selected works of the composer and includes analyses by Dr. Suchoff as well as full manuscripts of certain works with sheet music. Also contained within the collection are miscellaneous papers and documents pertaining to the Estate of B\u0026#xE9;la Bart\u0026#xF3;k and Dr. Suchoff's personal papers from his time as Trustee to the Estate after the death of the former Trustee, Viktor Bader. Finally, the collection contains the lecture notes and recordings of Dr. Elliott Antokoletz's work on B\u0026#xE9;la Bart\u0026#xF3;k and his research for his book \u003cemph render=\"italic\"\u003eMusical Symbolism in the Operas of Debussy and Bart\u0026#xF3;k.\u003c/emph\u003e\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains research, manuscripts, interviews, articles, and letters concerning composer Béla Bartók (1881–1945), as collected by Dr. Benjamin Suchoff and Dr. Elliott Antokoletz. The collection features 25 boxes of selected works of the composer and includes analyses by Dr. Suchoff as well as full manuscripts of certain works with sheet music. Also contained within the collection are miscellaneous papers and documents pertaining to the Estate of Béla Bartók and Dr. Suchoff's personal papers from his time as Trustee to the Estate after the death of the former Trustee, Viktor Bader. 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