{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64884","prev":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64883","next":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64885","last":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65767"},"meta":{"pages":{"current_page":64884,"next_page":64885,"prev_page":64883,"total_pages":65767,"limit_value":10,"offset_value":648830,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"53f642d51ae3f1367537126d_aspace_e5d73fece71b2500ae3ad8387b1c3a31","type":"Item","attributes":{"title":"Woman Collects Shells","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/53f642d51ae3f1367537126d_aspace_e5d73fece71b2500ae3ad8387b1c3a31#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eAn unidentified woman collects shells on the beach at San Carlos Bay\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/53f642d51ae3f1367537126d_aspace_e5d73fece71b2500ae3ad8387b1c3a31#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_e5d73fece71b2500ae3ad8387b1c3a31","ref_ssm":["aspace_e5d73fece71b2500ae3ad8387b1c3a31","aspace_e5d73fece71b2500ae3ad8387b1c3a31"],"id":"53f642d51ae3f1367537126d_aspace_e5d73fece71b2500ae3ad8387b1c3a31","title_filing_ssi":"Woman Collects Shells","title_ssm":["Woman Collects Shells"],"title_tesim":["Woman Collects Shells"],"normalized_title_ssm":["Woman Collects Shells"],"text":["Woman Collects Shells","Sanibel Island Collection, 1574-1998","/repositories/2/archival_objects/48463","Sanibel (Fla.)","Captiva Island (Fla.)","An unidentified woman collects shells on the beach at San Carlos Bay"],"component_level_isim":[1],"parent_ids_ssim":["53f642d51ae3f1367537126d"],"parent_unittitles_ssm":["Sanibel Island Collection, 1574-1998"],"parent_unittitles_tesim":["Sanibel Island Collection, 1574-1998"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/2/archival_objects/48463"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"collection_ssim":["Sanibel Island Collection, 1574-1998"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":125,"parent_access_restrict_tesm":["The collection is open for research use."],"geogname_ssim":["Sanibel (Fla.)","Captiva Island (Fla.)"],"geogname_ssm":["Sanibel (Fla.)","Captiva Island (Fla.)"],"places_ssim":["Sanibel (Fla.)","Captiva Island (Fla.)"],"scopecontent_html_tesm":["\u003cp\u003eAn unidentified woman collects shells on the beach at San Carlos Bay\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["An unidentified woman collects shells on the beach at San Carlos Bay"],"_nest_path_":"/components#124","_nest_parent_":"53f642d51ae3f1367537126d","_root_":"53f642d51ae3f1367537126d","_version_":1870843512966086656,"timestamp":"2026-07-16T04:16:48.323Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"53f642d51ae3f1367537126d","title_ssm":["Sanibel Island Collection"],"title_tesim":["Sanibel Island Collection"],"ead_ssi":"53f642d51ae3f1367537126d","unitdate_ssm":["1574-1998"],"unitdate_inclusive_ssm":["1574-1998"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["2019.SC.10","/repositories/2/resources/104"],"text":["2019.SC.10","/repositories/2/resources/104","Sanibel Island Collection, 1574-1998","The collection is open for research use.","Sanibel Island is a barrier island off the coast of Florida in Lee County. It became an incorporated city in 1974 and has steadily become a top Florida tourist destination since the construction of the Sanibel Causeway, which replaced the ferry as Sanibel's main form of transportation.","The University Archives and Special Collections do not own some of the original material in this collection, as materials were originally digitized by Southwest Florida Library Network as part of the Digitizing Southwest Florida Heritage Project and PALMM Project, 2004 in collaboration with the Sanibel Public Library.","The Sanibel Island Collection consists of photographs that highlight the geographical, environmental, social, and civic aspects of Sanibel Island. There are also letters, telegrams, and newspaper articles that highlight the social and community life on Sanibel Island. 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It became an incorporated city in 1974 and has steadily become a top Florida tourist destination since the construction of the Sanibel Causeway, which replaced the ferry as Sanibel's main form of transportation.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Sanibel Island is a barrier island off the coast of Florida in Lee County. It became an incorporated city in 1974 and has steadily become a top Florida tourist destination since the construction of the Sanibel Causeway, which replaced the ferry as Sanibel's main form of transportation."],"originalsloc_html_tesm":["\u003cp\u003eThe University Archives and Special Collections do not own some of the original material in this collection, as materials were originally digitized by Southwest Florida Library Network as part of the Digitizing Southwest Florida Heritage Project and PALMM Project, 2004 in collaboration with the Sanibel Public Library.\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["The University Archives and Special Collections do not own some of the original material in this collection, as materials were originally digitized by Southwest Florida Library Network as part of the Digitizing Southwest Florida Heritage Project and PALMM Project, 2004 in collaboration with the Sanibel Public Library."],"scopecontent_html_tesm":["\u003cp\u003eThe Sanibel Island Collection consists of photographs that highlight the geographical, environmental, social, and civic aspects of Sanibel Island. There are also letters, telegrams, and newspaper articles that highlight the social and community life on Sanibel Island. All materials in this collection are prior to the damage caused by Hurricane Ian in 2022.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Sanibel Island Collection consists of photographs that highlight the geographical, environmental, social, and civic aspects of Sanibel Island. There are also letters, telegrams, and newspaper articles that highlight the social and community life on Sanibel Island. All materials in this collection are prior to the damage caused by Hurricane Ian in 2022."],"names_ssim":["Florida Gulf Coast University Special Collections"],"corpname_ssim":["Florida Gulf Coast University Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":649,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870843512966086656,"_root_":"53f642d51ae3f1367537126d","timestamp":"2026-07-16T04:16:48.323Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/53f642d51ae3f1367537126d_aspace_e5d73fece71b2500ae3ad8387b1c3a31"}},{"id":"2e3a4e4f1b5834debed4f6e2_aspace_1f0e67e0d3c705ac913c16cc4c19b6a5","type":"Item","attributes":{"title":"Woman cooking on a camp fire. Item #197, Circa 1930","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2e3a4e4f1b5834debed4f6e2_aspace_1f0e67e0d3c705ac913c16cc4c19b6a5#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_1f0e67e0d3c705ac913c16cc4c19b6a5","ref_ssm":["aspace_1f0e67e0d3c705ac913c16cc4c19b6a5","aspace_1f0e67e0d3c705ac913c16cc4c19b6a5"],"id":"2e3a4e4f1b5834debed4f6e2_aspace_1f0e67e0d3c705ac913c16cc4c19b6a5","title_filing_ssi":"Woman cooking on a camp fire. Item #197","title_ssm":["Woman cooking on a camp fire. Item #197"],"title_tesim":["Woman cooking on a camp fire. Item #197"],"unitdate_inclusive_ssm":["Circa 1930"],"normalized_date_ssm":["Circa 1930"],"normalized_title_ssm":["Woman cooking on a camp fire. Item #197, Circa 1930"],"text":["Woman cooking on a camp fire. Item #197, Circa 1930","Anthony Kozla Collection, Circa 1930-1950","Series 03: Photographs, 1913-1965","Series 03-sub04: Local communities, Circa 1930-1950","/repositories/4/archival_objects/16587","box 1","folder 22"],"component_level_isim":[3],"parent_ids_ssim":["2e3a4e4f1b5834debed4f6e2","2e3a4e4f1b5834debed4f6e2_aspace_ffb668633d870c30f45161cdeea77bd1","2e3a4e4f1b5834debed4f6e2_aspace_7aa165349aa526b50add28774123f9a2"],"parent_unittitles_ssm":["Anthony Kozla Collection, Circa 1930-1950","Series 03: Photographs, 1913-1965","Series 03-sub04: Local communities, Circa 1930-1950"],"parent_unittitles_tesim":["Anthony Kozla Collection, Circa 1930-1950","Series 03: Photographs, 1913-1965","Series 03-sub04: Local communities, Circa 1930-1950"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/4/archival_objects/16587"],"repository_ssim":["Broward County Historical Archives"],"collection_ssim":["Anthony Kozla Collection, Circa 1930-1950"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":209,"parent_access_restrict_tesm":["The Anthony Kozla Collection is open for research."],"containers_ssim":["box 1","folder 22"],"_nest_path_":"/components#2/components#3/components#12","_nest_parent_":"2e3a4e4f1b5834debed4f6e2_aspace_7aa165349aa526b50add28774123f9a2","_root_":"2e3a4e4f1b5834debed4f6e2","_version_":1876457699731832832,"timestamp":"2026-09-16T03:31:53.997Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2e3a4e4f1b5834debed4f6e2","title_filing_ssi":"Kozla, Anthony Collection","title_ssm":["Anthony Kozla Collection"],"title_tesim":["Anthony Kozla Collection"],"ead_ssi":"2e3a4e4f1b5834debed4f6e2","unitdate_ssm":["Circa 1930-1950"],"unitdate_inclusive_ssm":["Circa 1930-1950"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["BCHA.1980.1","/repositories/4/resources/89"],"text":["BCHA.1980.1","/repositories/4/resources/89","Anthony Kozla Collection, Circa 1930-1950","Fort Lauderdale (Fla.)","Hurricane damage","Hurricanes","Tennis","Seminole Indians","Streets -- Florida -- Fort Lauderdale","School buildings","Buildings","Vehicles","Animals","United States. Army","Church buildings","Boy scouts","Travel","Fire fighters","Group portraits","Portraits","Self-portraits","Photographs","Photograph albums","Aerial views","Clippings","The Anthony Kozla Collection is open for research.","The Anthony Kozla Collection is digitized and available on the  Broward County Library Digital Archives .","The proposed series includes: Series I: Professional Papers, Series II. Personal Papers, Series III. Photographs, Series IV. Slides, Series V. Postcards, Series VI. Documentation.","Anthony Kozla was a Floridian photographer. He was born in Chicago, Illinois in 1909 to a Bohemian father (region of former Czechoslovakia and actual Czech Republic) and an American mother[1]. Anthony Kozla moved with his family to Fort Lauderdale in 1926[2]. He had two sisters, T. J, Clark DeLand, and Anna Barrett, as well as three brothers, Frank, Louis, and Charles. ","Anthony Kozla had his studio on 628 N. W. 3rd Avenue[3]. His photography activities led him to work for newspapers[4]. Starting 1948, many articles from the Fort Lauderdale Daily News and Evening Sentinel credit \"Tony Kozla\" for his photographs. It is mentioned that Anthony Kozla has been an \"official photographer for the Ft. Lauderdale police department\" and for his local group theatre[5]. ","Anthony Kozla was active in Fort Lauderdale's local life. He was part of a Boy Scouts Troop and an amateur actor for Park Temple Civic Players[6]. He was also part of the Knights of Columbus[7] and the Fort Lauderdale Camera Club for which he won the third price during an exhibition in 1946 for his picture \"Sunset\"[8]. ","Anthony Kozla died from a heart attack in 1954. He is buried at Evergreen Cemetery.","Notes:\n[1] 1940 US Federal Census.\n[2] Fort Lauderdale Daily News and Evening Sentinel, September 29, 1954.\n[3] Anthony Kozla Photo shop business License, 1953.\n[4] The Fort Lauderdale Daily News and Evening Sentinel, July 25, 1936.\n[5] Fort Lauderdale Daily News and Evening Sentinel, September 29, 1954.\n[6] The Fort Lauderdale Daily News and Evening Sentinel, July 1, 1937 and July 7, 1937. Several other newspaper articles from the 1930s credit Anthony Kozla for his participation in theatre plays.\n[7] Fort Lauderdale Daily News and Evening Sentinel, September 29, 1954.\n[8] Fort Lauderdale Daily News and Evening Sentinel, February 20, 1947.","The Anthony Kozla Collection was processed at the item level by Axel Surot in September 2024. Additional materials were processed and the finding aid updated by Erin Purdy in March 2026. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","The Anthony Kozla Collection contains 469 photographs Anthony Kozla took during his professional life and personal activities. These photographs include portraits of groups, individuals, and national and local celebrities. They are also a good source for documenting Fort Lauderdale's local life from the 1930s to the mid-1950s through events, pictures of local communities, and recreational activities. The Anthony Kozla Collection also helps understand the evolution of Fort Lauderdale and Broward County's urban development with 101 aerial views and photographs of buildings and streets."," Broward County Historical Archives","Katherine Rawls, 1917-1982","English"],"unitid_tesim":["BCHA.1980.1","/repositories/4/resources/89"],"normalized_date_ssm":["Circa 1930-1950"],"normalized_title_ssm":["Anthony Kozla Collection, Circa 1930-1950"],"collection_title_tesim":["Anthony Kozla Collection, Circa 1930-1950"],"collection_ssim":["Anthony Kozla Collection, Circa 1930-1950"],"repository_ssm":["Broward County Historical Archives"],"repository_ssim":["Broward County Historical Archives"],"geogname_ssm":["Fort Lauderdale (Fla.)"],"geogname_ssim":["Fort Lauderdale (Fla.)"],"places_ssim":["Fort Lauderdale (Fla.)"],"access_subjects_ssim":["Hurricane damage","Hurricanes","Tennis","Seminole Indians","Streets -- Florida -- Fort Lauderdale","School buildings","Buildings","Vehicles","Animals","United States. Army","Church buildings","Boy scouts","Travel","Fire fighters","Group portraits","Portraits","Self-portraits","Photographs","Photograph albums","Aerial views","Clippings"],"access_subjects_ssm":["Hurricane damage","Hurricanes","Tennis","Seminole Indians","Streets -- Florida -- Fort Lauderdale","School buildings","Buildings","Vehicles","Animals","United States. Army","Church buildings","Boy scouts","Travel","Fire fighters","Group portraits","Portraits","Self-portraits","Photographs","Photograph albums","Aerial views","Clippings"],"has_online_content_ssim":["false"],"extent_ssm":["3 Hollinger Boxes"],"extent_tesim":["3 Hollinger Boxes"],"genreform_ssim":["Group portraits","Portraits","Self-portraits","Photographs","Photograph albums","Aerial views","Clippings"],"date_range_isim":[1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950],"accessrestrict_html_tesm":["\u003cp\u003eThe Anthony Kozla Collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The Anthony Kozla Collection is open for research."],"altformavail_html_tesm":["\u003cp\u003eThe Anthony Kozla Collection is digitized and available on the \u003ca href=\"https://digitalarchives.broward.org/digital/collection/kozla/search\"\u003eBroward County Library Digital Archives\u003c/a\u003e.\u003c/p\u003e"],"altformavail_heading_ssm":["Existence and Location of Copies"],"altformavail_tesim":["The Anthony Kozla Collection is digitized and available on the  Broward County Library Digital Archives ."],"arrangement_html_tesm":["\u003cp\u003eThe proposed series includes: Series I: Professional Papers, Series II. Personal Papers, Series III. Photographs, Series IV. Slides, Series V. Postcards, Series VI. Documentation.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The proposed series includes: Series I: Professional Papers, Series II. Personal Papers, Series III. Photographs, Series IV. Slides, Series V. Postcards, Series VI. Documentation."],"bioghist_html_tesm":["\u003cp\u003eAnthony Kozla was a Floridian photographer. He was born in Chicago, Illinois in 1909 to a Bohemian father (region of former Czechoslovakia and actual Czech Republic) and an American mother[1]. Anthony Kozla moved with his family to Fort Lauderdale in 1926[2]. He had two sisters, T. J, Clark DeLand, and Anna Barrett, as well as three brothers, Frank, Louis, and Charles. \u003c/p\u003e\n","\u003cp\u003eAnthony Kozla had his studio on 628 N. W. 3rd Avenue[3]. His photography activities led him to work for newspapers[4]. Starting 1948, many articles from the Fort Lauderdale Daily News and Evening Sentinel credit \"Tony Kozla\" for his photographs. It is mentioned that Anthony Kozla has been an \"official photographer for the Ft. Lauderdale police department\" and for his local group theatre[5]. \u003c/p\u003e\n","\u003cp\u003eAnthony Kozla was active in Fort Lauderdale's local life. He was part of a Boy Scouts Troop and an amateur actor for Park Temple Civic Players[6]. He was also part of the Knights of Columbus[7] and the Fort Lauderdale Camera Club for which he won the third price during an exhibition in 1946 for his picture \"Sunset\"[8]. \u003c/p\u003e\n","\u003cp\u003eAnthony Kozla died from a heart attack in 1954. He is buried at Evergreen Cemetery.\u003c/p\u003e\n","\u003cp\u003eNotes:\n[1] 1940 US Federal Census.\n[2] Fort Lauderdale Daily News and Evening Sentinel, September 29, 1954.\n[3] Anthony Kozla Photo shop business License, 1953.\n[4] The Fort Lauderdale Daily News and Evening Sentinel, July 25, 1936.\n[5] Fort Lauderdale Daily News and Evening Sentinel, September 29, 1954.\n[6] The Fort Lauderdale Daily News and Evening Sentinel, July 1, 1937 and July 7, 1937. Several other newspaper articles from the 1930s credit Anthony Kozla for his participation in theatre plays.\n[7] Fort Lauderdale Daily News and Evening Sentinel, September 29, 1954.\n[8] Fort Lauderdale Daily News and Evening Sentinel, February 20, 1947.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Anthony Kozla was a Floridian photographer. He was born in Chicago, Illinois in 1909 to a Bohemian father (region of former Czechoslovakia and actual Czech Republic) and an American mother[1]. Anthony Kozla moved with his family to Fort Lauderdale in 1926[2]. He had two sisters, T. J, Clark DeLand, and Anna Barrett, as well as three brothers, Frank, Louis, and Charles. ","Anthony Kozla had his studio on 628 N. W. 3rd Avenue[3]. His photography activities led him to work for newspapers[4]. Starting 1948, many articles from the Fort Lauderdale Daily News and Evening Sentinel credit \"Tony Kozla\" for his photographs. It is mentioned that Anthony Kozla has been an \"official photographer for the Ft. Lauderdale police department\" and for his local group theatre[5]. ","Anthony Kozla was active in Fort Lauderdale's local life. He was part of a Boy Scouts Troop and an amateur actor for Park Temple Civic Players[6]. He was also part of the Knights of Columbus[7] and the Fort Lauderdale Camera Club for which he won the third price during an exhibition in 1946 for his picture \"Sunset\"[8]. ","Anthony Kozla died from a heart attack in 1954. He is buried at Evergreen Cemetery.","Notes:\n[1] 1940 US Federal Census.\n[2] Fort Lauderdale Daily News and Evening Sentinel, September 29, 1954.\n[3] Anthony Kozla Photo shop business License, 1953.\n[4] The Fort Lauderdale Daily News and Evening Sentinel, July 25, 1936.\n[5] Fort Lauderdale Daily News and Evening Sentinel, September 29, 1954.\n[6] The Fort Lauderdale Daily News and Evening Sentinel, July 1, 1937 and July 7, 1937. Several other newspaper articles from the 1930s credit Anthony Kozla for his participation in theatre plays.\n[7] Fort Lauderdale Daily News and Evening Sentinel, September 29, 1954.\n[8] Fort Lauderdale Daily News and Evening Sentinel, February 20, 1947."],"prefercite_html_tesm":["\u003cp\u003eAnthony Kozla Collection, Broward County Historical Archives, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["Anthony Kozla Collection, Broward County Historical Archives, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThe Anthony Kozla Collection was processed at the item level by Axel Surot in September 2024. Additional materials were processed and the finding aid updated by Erin Purdy in March 2026. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The Anthony Kozla Collection was processed at the item level by Axel Surot in September 2024. Additional materials were processed and the finding aid updated by Erin Purdy in March 2026. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection."],"scopecontent_html_tesm":["\u003cp\u003eThe Anthony Kozla Collection contains 469 photographs Anthony Kozla took during his professional life and personal activities. These photographs include portraits of groups, individuals, and national and local celebrities. They are also a good source for documenting Fort Lauderdale's local life from the 1930s to the mid-1950s through events, pictures of local communities, and recreational activities. The Anthony Kozla Collection also helps understand the evolution of Fort Lauderdale and Broward County's urban development with 101 aerial views and photographs of buildings and streets.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Anthony Kozla Collection contains 469 photographs Anthony Kozla took during his professional life and personal activities. These photographs include portraits of groups, individuals, and national and local celebrities. They are also a good source for documenting Fort Lauderdale's local life from the 1930s to the mid-1950s through events, pictures of local communities, and recreational activities. The Anthony Kozla Collection also helps understand the evolution of Fort Lauderdale and Broward County's urban development with 101 aerial views and photographs of buildings and streets."],"names_ssim":[" Broward County Historical Archives","Katherine Rawls, 1917-1982"],"corpname_ssim":[" Broward County Historical Archives"],"names_coll_ssim":["Katherine Rawls, 1917-1982"],"persname_ssim":["Katherine Rawls, 1917-1982"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":558,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1876457699731832832,"_root_":"2e3a4e4f1b5834debed4f6e2","timestamp":"2026-09-16T03:31:53.997Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2e3a4e4f1b5834debed4f6e2_aspace_1f0e67e0d3c705ac913c16cc4c19b6a5"}},{"id":"fed50d47ce16a4f24338bcb4_aspace_11da56bc37d5507d4bd474b1ccae70bf","type":"Item","attributes":{"title":"Woman Cooking with Two Children in Progress Village Home","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/fed50d47ce16a4f24338bcb4_aspace_11da56bc37d5507d4bd474b1ccae70bf#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_11da56bc37d5507d4bd474b1ccae70bf","ref_ssm":["aspace_11da56bc37d5507d4bd474b1ccae70bf","aspace_11da56bc37d5507d4bd474b1ccae70bf"],"id":"fed50d47ce16a4f24338bcb4_aspace_11da56bc37d5507d4bd474b1ccae70bf","title_filing_ssi":"Woman Cooking with Two Children in Progress Village Home","title_ssm":["Woman Cooking with Two Children in Progress Village Home"],"title_tesim":["Woman Cooking with Two Children in Progress Village Home"],"normalized_title_ssm":["Woman Cooking with Two Children in Progress Village Home"],"text":["Woman Cooking with Two Children in Progress Village Home","Progress Village Records, 1957-1977","Assorted Materials","Box 3","Slides","/repositories/2/archival_objects/200245"],"component_level_isim":[4],"parent_ids_ssim":["fed50d47ce16a4f24338bcb4","fed50d47ce16a4f24338bcb4_aspace_10504","fed50d47ce16a4f24338bcb4_aspace_10505","fed50d47ce16a4f24338bcb4_aspace_10516"],"parent_unittitles_ssm":["Progress Village Records, 1957-1977","Assorted Materials","Box 3","Slides"],"parent_unittitles_tesim":["Progress Village Records, 1957-1977","Assorted Materials","Box 3","Slides"],"parent_levels_ssm":["collection","Series","Box","File"],"unitid_ssm":["/repositories/2/archival_objects/200245"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Progress Village Records, 1957-1977"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":119,"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"_nest_path_":"/components#5/components#0/components#11/components#41","_nest_parent_":"fed50d47ce16a4f24338bcb4_aspace_10516","_root_":"fed50d47ce16a4f24338bcb4","_version_":1874576837913346048,"timestamp":"2026-08-26T09:16:24.444Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"fed50d47ce16a4f24338bcb4","title_ssm":["Progress Village Records"],"title_tesim":["Progress Village Records"],"ead_ssi":"fed50d47ce16a4f24338bcb4","unitdate_ssm":["1957-1977"],"unitdate_inclusive_ssm":["1957-1977"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2009-09","/repositories/2/resources/537"],"text":["MS-2009-09","/repositories/2/resources/537","Progress Village Records, 1957-1977","African Americans -- Housing","Community development -- Florida","African Americans -- Florida -- Tampa -- History","Alphabetically within series.","In the late 1950s, the Progress Village community was established to provide affordable housing for members of Hillsborough County, Florida's African American population. Developed as a \"model community\" that would offset major displacements caused by redevelopment in predominantly black neighborhoods, Progress Village grew under the leadership of such prominent, local leaders as C. Blythe Andrews, Cody Fowler, James Hargrett, Sr., and Perry Harvey, Sr., who – along with others – composed the original Board of Trustees for Progress Village, Inc.  More than fifty years later, Progress Village still stands as a viable example of public enterprise and cooperative neighborhood development.","published","processed","The Civil Rights Papers of Cody Fowler and Steven Lawson, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.","Materials related to community development, infrastructure, site plans, reports, and legal files are included in this collection.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","This collection consists of historic materials related to the Progress Village community, which was established in the 1950s to provide affordable housing for members of Hillsborough County's African American population.","USF Libraries - Tampa Special Collections","Progress Village, Inc.","Fowler, Cody, 1892-1978","English"],"unitid_tesim":["MS-2009-09","/repositories/2/resources/537"],"normalized_date_ssm":["1957-1977"],"normalized_title_ssm":["Progress Village Records, 1957-1977"],"collection_title_tesim":["Progress Village Records, 1957-1977"],"collection_ssim":["Progress Village Records, 1957-1977"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Fowler, Cody, 1892-1978"],"creator_ssim":["Fowler, Cody, 1892-1978"],"creator_persname_ssim":["Fowler, Cody, 1892-1978"],"creators_ssim":["Fowler, Cody, 1892-1978"],"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":["Received in conjunction with Cody Fowler's papers on the Tampa Bi-Racial Committee, which currently comprise a portion of The Civil Rights Papers of Cody Fowler and Steven Lawson.","Donation."],"access_subjects_ssim":["African Americans -- Housing","Community development -- Florida","African Americans -- Florida -- Tampa -- History"],"access_subjects_ssm":["African Americans -- Housing","Community development -- Florida","African Americans -- Florida -- Tampa -- History"],"has_online_content_ssim":["false"],"extent_ssm":["1.25 Linear Feet","3  boxes"],"extent_tesim":["1.25 Linear Feet","3  boxes"],"date_range_isim":[1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977],"arrangement_html_tesm":["\u003cp\u003eAlphabetically within series.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Alphabetically within series."],"bioghist_html_tesm":["\u003cp\u003eIn the late 1950s, the Progress Village community was established to provide affordable housing for members of Hillsborough County, Florida's African American population. Developed as a \"model community\" that would offset major displacements caused by redevelopment in predominantly black neighborhoods, Progress Village grew under the leadership of such prominent, local leaders as C. Blythe Andrews, Cody Fowler, James Hargrett, Sr., and Perry Harvey, Sr., who \u0026#x2013; along with others \u0026#x2013; composed the original Board of Trustees for Progress Village, Inc.  More than fifty years later, Progress Village still stands as a viable example of public enterprise and cooperative neighborhood development.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In the late 1950s, the Progress Village community was established to provide affordable housing for members of Hillsborough County, Florida's African American population. Developed as a \"model community\" that would offset major displacements caused by redevelopment in predominantly black neighborhoods, Progress Village grew under the leadership of such prominent, local leaders as C. Blythe Andrews, Cody Fowler, James Hargrett, Sr., and Perry Harvey, Sr., who – along with others – composed the original Board of Trustees for Progress Village, Inc.  More than fifty years later, Progress Village still stands as a viable example of public enterprise and cooperative neighborhood development."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eProgress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Progress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eprocessed\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["processed"],"relatedmaterial_html_tesm":["\u003cp\u003eThe Civil Rights Papers of Cody Fowler and Steven Lawson, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Civil Rights Papers of Cody Fowler and Steven Lawson, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials related to community development, infrastructure, site plans, reports, and legal files are included in this collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials related to community development, infrastructure, site plans, reports, and legal files are included in this collection."],"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_48c43409ea1ed4a5c3462dccb1317d3c\" label=\"Abstract\"\u003eThis collection consists of historic materials related to the Progress Village community, which was established in the 1950s to provide affordable housing for members of Hillsborough County's African American population.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of historic materials related to the Progress Village community, which was established in the 1950s to provide affordable housing for members of Hillsborough County's African American population."],"names_coll_ssim":["Progress Village, Inc.","Fowler, Cody, 1892-1978"],"names_ssim":["USF Libraries - Tampa Special Collections","Progress Village, Inc.","Fowler, Cody, 1892-1978"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Progress Village, Inc."],"persname_ssim":["Fowler, Cody, 1892-1978"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":163,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1874576837913346048,"_root_":"fed50d47ce16a4f24338bcb4","timestamp":"2026-08-26T09:16:24.444Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/fed50d47ce16a4f24338bcb4_aspace_11da56bc37d5507d4bd474b1ccae70bf"}},{"id":"6a8ca297c8d957a918dee02d_aspace_126730","type":"File","attributes":{"title":"Womancraft","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/6a8ca297c8d957a918dee02d_aspace_126730#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_126730","ref_ssm":["aspace_126730","aspace_126730"],"id":"6a8ca297c8d957a918dee02d_aspace_126730","title_filing_ssi":"Womancraft","title_ssm":["Womancraft"],"title_tesim":["Womancraft"],"normalized_title_ssm":["Womancraft"],"text":["Womancraft","Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","National - Organizations \u0026 Subject Files III","Folder 15","/repositories/2/archival_objects/98307","box 5","folder 10"],"component_level_isim":[2],"parent_ids_ssim":["6a8ca297c8d957a918dee02d","6a8ca297c8d957a918dee02d_aspace_126697"],"parent_unittitles_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","National - Organizations \u0026 Subject Files III"],"parent_unittitles_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","National - Organizations \u0026 Subject Files III"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Folder 15","/repositories/2/archival_objects/98307"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":232,"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 5","folder 10"],"_nest_path_":"/components#4/components#9","_nest_parent_":"6a8ca297c8d957a918dee02d_aspace_126697","_root_":"6a8ca297c8d957a918dee02d","_version_":1871496586827137024,"timestamp":"2026-07-23T09:17:07.992Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"6a8ca297c8d957a918dee02d","title_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection"],"title_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection"],"ead_ssi":"6a8ca297c8d957a918dee02d","unitdate_ssm":["1973-2014","1990-1998","Date acquired: 2006"],"unitdate_bulk_ssim":["1990-1998"],"unitdate_inclusive_ssm":["1973-2014"],"unitdate_other_ssim":["Date acquired: 2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2006-08","/repositories/2/resources/442"],"text":["MS-2006-08","/repositories/2/resources/442","Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Tampa (Fla.)","Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies","Organized alphabetically within series and subjects.","In 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication  Womyn's Words . As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.","Learn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.","Note written by CBW. Edited by CC, 2026.","Materials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.  Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence.","Womyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)","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.","The papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter  Womyn's Words .","USF Libraries - Tampa Special Collections","Daly, Edith (1937-)","English Croatian"],"unitid_tesim":["MS-2006-08","/repositories/2/resources/442"],"normalized_date_ssm":["1973-2014, Date acquired: 2006, bulk 1990-1998"],"normalized_title_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"collection_title_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"collection_ssim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.)"],"geogname_ssim":["Tampa (Fla.)"],"creator_ssm":["Daly, Edith (1937-)"],"creator_ssim":["Daly, Edith (1937-)"],"creator_persname_ssim":["Daly, Edith (1937-)"],"creators_ssim":["Daly, Edith (1937-)"],"places_ssim":["Tampa (Fla.)"],"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":["Edith Daly","Donation"],"access_subjects_ssim":["Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies"],"access_subjects_ssm":["Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies"],"has_online_content_ssim":["false"],"extent_ssm":["17 Linear Feet","27 boxes"],"extent_tesim":["17 Linear Feet","27 boxes"],"date_range_isim":[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],"arrangement_html_tesm":["\u003cp\u003eOrganized alphabetically within series and subjects.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Organized alphabetically within series and subjects."],"bioghist_html_tesm":["\u003cp\u003eIn 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication \u003cemph render=\"italic\"\u003eWomyn's Words\u003c/emph\u003e. As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.\u003c/p\u003e\n","\u003cp\u003eLearn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.\u003c/p\u003e\n","\u003cp\u003eNote written by CBW. Edited by CC, 2026.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication  Womyn's Words . As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.","Learn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.","Note written by CBW. Edited by CC, 2026."],"prefercite_html_tesm":["\u003cp\u003eEdith Daly / Women's Energy Bank collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Edith Daly / Women's Energy Bank collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.\u0026#xA0; Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.  Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence."],"separatedmaterial_html_tesm":["\u003cp\u003eWomyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Womyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)"],"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_035d6fc98144dc90e3c384ced17a9893\"\u003eThe papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter \u003cemph render=\"italic\"\u003eWomyn's Words\u003c/emph\u003e.\u003c/abstract\u003e"],"abstract_tesim":["The papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter  Womyn's Words ."],"names_ssim":["USF Libraries - Tampa Special Collections","Daly, Edith (1937-)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Daly, Edith (1937-)"],"language_ssim":["English Croatian"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1323,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1871496586827137024,"_root_":"6a8ca297c8d957a918dee02d","timestamp":"2026-07-23T09:17:07.992Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/6a8ca297c8d957a918dee02d_aspace_126730"}},{"id":"83f840d1b139dc17341abee7_aspace_233198e604eae934d59f59928f942e91","type":"Item","attributes":{"title":"Woman crocheting. Item #68, Circa 1930-1940","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/83f840d1b139dc17341abee7_aspace_233198e604eae934d59f59928f942e91#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_233198e604eae934d59f59928f942e91","ref_ssm":["aspace_233198e604eae934d59f59928f942e91","aspace_233198e604eae934d59f59928f942e91"],"id":"83f840d1b139dc17341abee7_aspace_233198e604eae934d59f59928f942e91","title_filing_ssi":"Woman crocheting. Item #68","title_ssm":["Woman crocheting. Item #68"],"title_tesim":["Woman crocheting. Item #68"],"unitdate_inclusive_ssm":["Circa 1930-1940"],"normalized_date_ssm":["Circa 1930-1940"],"normalized_title_ssm":["Woman crocheting. Item #68, Circa 1930-1940"],"text":["Woman crocheting. Item #68, Circa 1930-1940","William L. Barwick Collection, Circa 1910-1950","Portraits, Circa 1910-1941","/repositories/4/archival_objects/12656","Box 1"],"component_level_isim":[2],"parent_ids_ssim":["83f840d1b139dc17341abee7","83f840d1b139dc17341abee7_aspace_dc8529b74c0f4253779871aa69b3d035"],"parent_unittitles_ssm":["William L. Barwick Collection, Circa 1910-1950","Portraits, Circa 1910-1941"],"parent_unittitles_tesim":["William L. Barwick Collection, Circa 1910-1950","Portraits, Circa 1910-1941"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/4/archival_objects/12656"],"repository_ssim":["Broward County Historical Archives"],"collection_ssim":["William L. Barwick Collection, Circa 1910-1950"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":72,"parent_access_restrict_tesm":["The William L. Barwick Collection is open for research."],"containers_ssim":["Box 1"],"_nest_path_":"/components#3/components#16","_nest_parent_":"83f840d1b139dc17341abee7_aspace_dc8529b74c0f4253779871aa69b3d035","_root_":"83f840d1b139dc17341abee7","_version_":1877635431422492672,"timestamp":"2026-09-29T03:31:26.521Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"83f840d1b139dc17341abee7","title_filing_ssi":"Barwick, William L. Collection","title_ssm":["William L. Barwick Collection"],"title_tesim":["William L. Barwick Collection"],"ead_ssi":"83f840d1b139dc17341abee7","unitdate_ssm":["Circa 1910-1950"],"unitdate_inclusive_ssm":["Circa 1910-1950"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["BCHA.1975.15","/repositories/4/resources/13"],"text":["BCHA.1975.15","/repositories/4/resources/13","William L. Barwick Collection, Circa 1910-1950","Fort Lauderdale (Fla.)","Hurricane damage","Hurricanes","Floods","Dwellings -- Florida -- Broward County","Boats and boating","Beaches","Portraits","Group portraits","The William L. Barwick Collection is open for research.","The William L. Barwick Collection is organized in four series: Series I. 1926 Hurricane, Series II. 1947 Hurricane and Flood, Series III. Buildings, Streets and Boats, and Series IV. Portraits.","William Lasa Barwick was born in Moultrie, Georgia, on December 20, 1905. William L. Barwick was a laborer in the Electric Utility for Florida Power Light Company for more than 25 years [1] and a machinist for Utility Co. [2]. He served in the Army during World War II for 1 year and 4 months [3]. William L. Barwick married Mabel G. Copeland in 1936 [4]. ","Photography was probably a hobby of the Barwick family. ","The photographs document the effects of the 1926 hurricane and the 1947 flood in downtown Fort Lauderdale, Florida. The 1926 hurricane stands as the costliest damaging hurricane on record in United States history. The 1947 hurricane was the fourth successive hurricane in the area that year causing extensive flooding.","The William Lasa Barwick Collection also contains portraits of Captain James Barnes Vreeland, Sr. and his family. Captain Vreeland was born in Brownstown Township, Michigan in 1864. Although there is no information about when his family moved to Florida, he became a Broward County pioneer. He was known in the region for being a boat captain and fisherman. He shared his hobby with his son, James B. Vreeland, Jr., and grandson, Harold Vreeland. During the 1930s, their fishing achievements were often published in the local news. His navigating skills led Captain James Barnes Vreeland Sr. to work for the US Life Saving Service [5]. A newspaper article mentions a rescuing operation conducted by James B. Vreeland on Fort Lauderdale's beach in December 1930 [6]. His wife, Cordelia Vreeland (1862-1958), was active in Fort Lauderdale's local life, participating in church and women's club events. In 1936, she may have shared a real estate business with her son on Las Olas Boulevard [7].","Notes:\n[1] Fort Lauderdale News, November 26, 1965, p. 23.\n[2] See also 1935 Florida State Census, 1940 United States Federal Census, 1950 United States Federal Census.\n[3] See 1945 Florida State Census, 1942-1954 World War II Hospital Admission Card Files.\n[4] 1923-1982 Florida, U.S., County Marriage Records. The mention of \"Mabel\" Barwick on the back of one of the pictures reinforces the probability that William Lasa Barwick is the right person described in this biography.\n[5] 1910 US Federal Census.\n[6] Miami Daily News, December 26, 1930.\n[7] US City Directories, 1822-1995.","This collection received item level processing. This finding aid may be updated to reflect new descriptions as well as aquisitions to the collection.","View a selection of digitized materials from the William L. Barwick Collection in the Broward County Library Digital Archives.","The William L. Barwick Collection contains photographs of Broward County documenting 1926 and 1947 hurricanes. Also, the collection includes portraits and pictures of buildings, streets, and boats in Fort Lauderdale and Broward County locations."," Broward County Historical Archives","Barwick, William Lasa, 1905-1992","Copeland, Mabel G., 1894-1975","Vreeland, James Barnes, Sr., 1864-1943","English"],"unitid_tesim":["BCHA.1975.15","/repositories/4/resources/13"],"normalized_date_ssm":["Circa 1910-1950"],"normalized_title_ssm":["William L. Barwick Collection, Circa 1910-1950"],"collection_title_tesim":["William L. Barwick Collection, Circa 1910-1950"],"collection_ssim":["William L. Barwick Collection, Circa 1910-1950"],"repository_ssm":["Broward County Historical Archives"],"repository_ssim":["Broward County Historical Archives"],"geogname_ssm":["Fort Lauderdale (Fla.)"],"geogname_ssim":["Fort Lauderdale (Fla.)"],"creator_ssm":["Barwick, William Lasa, 1905-1992"],"creator_ssim":["Barwick, William Lasa, 1905-1992"],"creator_persname_ssim":["Barwick, William Lasa, 1905-1992"],"creators_ssim":["Barwick, William Lasa, 1905-1992"],"places_ssim":["Fort Lauderdale (Fla.)"],"acqinfo_ssim":["The collection was donated in 1975 by Mr. Barwick. According to an envelope in the collection, his initials \"W. L.\" may refer to William Lasa Barwick."],"access_subjects_ssim":["Hurricane damage","Hurricanes","Floods","Dwellings -- Florida -- Broward County","Boats and boating","Beaches","Portraits","Group portraits"],"access_subjects_ssm":["Hurricane damage","Hurricanes","Floods","Dwellings -- Florida -- Broward County","Boats and boating","Beaches","Portraits","Group portraits"],"has_online_content_ssim":["false"],"extent_ssm":["1 Photograph Binder Box"],"extent_tesim":["1 Photograph Binder Box"],"genreform_ssim":["Portraits","Group portraits"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe William L. Barwick Collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The William L. Barwick Collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe William L. Barwick Collection is organized in four series: Series I. 1926 Hurricane, Series II. 1947 Hurricane and Flood, Series III. Buildings, Streets and Boats, and Series IV. Portraits.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The William L. Barwick Collection is organized in four series: Series I. 1926 Hurricane, Series II. 1947 Hurricane and Flood, Series III. Buildings, Streets and Boats, and Series IV. Portraits."],"bioghist_html_tesm":["\u003cp\u003eWilliam Lasa Barwick was born in Moultrie, Georgia, on December 20, 1905. William L. Barwick was a laborer in the Electric Utility for Florida Power Light Company for more than 25 years [1] and a machinist for Utility Co. [2]. He served in the Army during World War II for 1 year and 4 months [3]. William L. Barwick married Mabel G. Copeland in 1936 [4]. \u003c/p\u003e\n","\u003cp\u003ePhotography was probably a hobby of the Barwick family. \u003c/p\u003e\n","\u003cp\u003eThe photographs document the effects of the 1926 hurricane and the 1947 flood in downtown Fort Lauderdale, Florida. The 1926 hurricane stands as the costliest damaging hurricane on record in United States history. The 1947 hurricane was the fourth successive hurricane in the area that year causing extensive flooding.\u003c/p\u003e\n","\u003cp\u003eThe William Lasa Barwick Collection also contains portraits of Captain James Barnes Vreeland, Sr. and his family. Captain Vreeland was born in Brownstown Township, Michigan in 1864. Although there is no information about when his family moved to Florida, he became a Broward County pioneer. He was known in the region for being a boat captain and fisherman. He shared his hobby with his son, James B. Vreeland, Jr., and grandson, Harold Vreeland. During the 1930s, their fishing achievements were often published in the local news. His navigating skills led Captain James Barnes Vreeland Sr. to work for the US Life Saving Service [5]. A newspaper article mentions a rescuing operation conducted by James B. Vreeland on Fort Lauderdale's beach in December 1930 [6]. His wife, Cordelia Vreeland (1862-1958), was active in Fort Lauderdale's local life, participating in church and women's club events. In 1936, she may have shared a real estate business with her son on Las Olas Boulevard [7].\u003c/p\u003e\n","\u003cp\u003eNotes:\n[1] Fort Lauderdale News, November 26, 1965, p. 23.\n[2] See also 1935 Florida State Census, 1940 United States Federal Census, 1950 United States Federal Census.\n[3] See 1945 Florida State Census, 1942-1954 World War II Hospital Admission Card Files.\n[4] 1923-1982 Florida, U.S., County Marriage Records. The mention of \"Mabel\" Barwick on the back of one of the pictures reinforces the probability that William Lasa Barwick is the right person described in this biography.\n[5] 1910 US Federal Census.\n[6] Miami Daily News, December 26, 1930.\n[7] US City Directories, 1822-1995.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["William Lasa Barwick was born in Moultrie, Georgia, on December 20, 1905. William L. Barwick was a laborer in the Electric Utility for Florida Power Light Company for more than 25 years [1] and a machinist for Utility Co. [2]. He served in the Army during World War II for 1 year and 4 months [3]. William L. Barwick married Mabel G. Copeland in 1936 [4]. ","Photography was probably a hobby of the Barwick family. ","The photographs document the effects of the 1926 hurricane and the 1947 flood in downtown Fort Lauderdale, Florida. The 1926 hurricane stands as the costliest damaging hurricane on record in United States history. The 1947 hurricane was the fourth successive hurricane in the area that year causing extensive flooding.","The William Lasa Barwick Collection also contains portraits of Captain James Barnes Vreeland, Sr. and his family. Captain Vreeland was born in Brownstown Township, Michigan in 1864. Although there is no information about when his family moved to Florida, he became a Broward County pioneer. He was known in the region for being a boat captain and fisherman. He shared his hobby with his son, James B. Vreeland, Jr., and grandson, Harold Vreeland. During the 1930s, their fishing achievements were often published in the local news. His navigating skills led Captain James Barnes Vreeland Sr. to work for the US Life Saving Service [5]. A newspaper article mentions a rescuing operation conducted by James B. Vreeland on Fort Lauderdale's beach in December 1930 [6]. His wife, Cordelia Vreeland (1862-1958), was active in Fort Lauderdale's local life, participating in church and women's club events. In 1936, she may have shared a real estate business with her son on Las Olas Boulevard [7].","Notes:\n[1] Fort Lauderdale News, November 26, 1965, p. 23.\n[2] See also 1935 Florida State Census, 1940 United States Federal Census, 1950 United States Federal Census.\n[3] See 1945 Florida State Census, 1942-1954 World War II Hospital Admission Card Files.\n[4] 1923-1982 Florida, U.S., County Marriage Records. The mention of \"Mabel\" Barwick on the back of one of the pictures reinforces the probability that William Lasa Barwick is the right person described in this biography.\n[5] 1910 US Federal Census.\n[6] Miami Daily News, December 26, 1930.\n[7] US City Directories, 1822-1995."],"prefercite_html_tesm":["\u003cp\u003eThe William L. Barwick Collection, Broward County Historical Archives, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["The William L. Barwick Collection, Broward County Historical Archives, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThis collection received item level processing. This finding aid may be updated to reflect new descriptions as well as aquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection received item level processing. This finding aid may be updated to reflect new descriptions as well as aquisitions to the collection."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://digitalarchives.broward.org/digital/collection/barwick\" target=\"_blank\"\u003eView a selection of digitized materials from the William L. Barwick Collection in the Broward County Library Digital Archives.\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Digital Materials"],"relatedmaterial_tesim":["View a selection of digitized materials from the William L. Barwick Collection in the Broward County Library Digital Archives."],"scopecontent_html_tesm":["\u003cp\u003eThe William L. Barwick Collection contains photographs of Broward County documenting 1926 and 1947 hurricanes. Also, the collection includes portraits and pictures of buildings, streets, and boats in Fort Lauderdale and Broward County locations.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The William L. Barwick Collection contains photographs of Broward County documenting 1926 and 1947 hurricanes. Also, the collection includes portraits and pictures of buildings, streets, and boats in Fort Lauderdale and Broward County locations."],"names_ssim":[" Broward County Historical Archives","Barwick, William Lasa, 1905-1992","Copeland, Mabel G., 1894-1975","Vreeland, James Barnes, Sr., 1864-1943"],"corpname_ssim":[" Broward County Historical Archives"],"names_coll_ssim":["Copeland, Mabel G., 1894-1975","Vreeland, James Barnes, Sr., 1864-1943"],"persname_ssim":["Barwick, William Lasa, 1905-1992","Copeland, Mabel G., 1894-1975","Vreeland, James Barnes, Sr., 1864-1943"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":74,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1877635431422492672,"_root_":"83f840d1b139dc17341abee7","timestamp":"2026-09-29T03:31:26.521Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/83f840d1b139dc17341abee7_aspace_233198e604eae934d59f59928f942e91"}},{"id":"18ce43a3c782b797db9fa781_aspace_178910","type":"Item","attributes":{"title":"[Woman crossing footbridge]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178910#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eHand-colored photograph.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178910#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_178910","ref_ssm":["aspace_178910","aspace_178910"],"id":"18ce43a3c782b797db9fa781_aspace_178910","title_filing_ssi":"[Woman crossing footbridge]","title_ssm":["[Woman crossing footbridge]"],"title_tesim":["[Woman crossing footbridge]"],"normalized_title_ssm":["[Woman crossing footbridge]"],"text":["[Woman crossing footbridge]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Colorado, 1913","Item 31","/repositories/2/archival_objects/82935","Hand-colored photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179824","18ce43a3c782b797db9fa781_aspace_178879"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Colorado, 1913"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Colorado, 1913"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 31","/repositories/2/archival_objects/82935"],"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":1074,"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 photograph.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hand-colored photograph."],"_nest_path_":"/components#21/components#1/components#30","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_178879","_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_178910"}},{"id":"763de249ff7d9b630424e493_aspace_2bfc653bb7f6f292c231841c729030b6","type":"Item","attributes":{"title":"Woman dressed in cap and gown. Photographer and studio unknown. Photograph #1062., Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_2bfc653bb7f6f292c231841c729030b6#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_2bfc653bb7f6f292c231841c729030b6","ref_ssm":["aspace_2bfc653bb7f6f292c231841c729030b6","aspace_2bfc653bb7f6f292c231841c729030b6"],"id":"763de249ff7d9b630424e493_aspace_2bfc653bb7f6f292c231841c729030b6","title_filing_ssi":"Woman dressed in cap and gown. Photographer and studio unknown. Photograph #1062.","title_ssm":["Woman dressed in cap and gown. Photographer and studio unknown. Photograph #1062."],"title_tesim":["Woman dressed in cap and gown. Photographer and studio unknown. Photograph #1062."],"unitdate_inclusive_ssm":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman dressed in cap and gown. Photographer and studio unknown. Photograph #1062., Undated"],"text":["Woman dressed in cap and gown. Photographer and studio unknown. Photograph #1062., Undated","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Couples and Families","Scrapbooks and Photo Albums","/repositories/2/archival_objects/7212","box 32"],"component_level_isim":[3],"parent_ids_ssim":["763de249ff7d9b630424e493","763de249ff7d9b630424e493_aspace_acb689989cbc6d5b9a27e48d4327b0d6","763de249ff7d9b630424e493_aspace_09339530b2ee739581cb68cd99d8f15c"],"parent_unittitles_ssm":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Couples and Families","Scrapbooks and Photo Albums"],"parent_unittitles_tesim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Couples and Families","Scrapbooks and Photo Albums"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/2/archival_objects/7212"],"repository_ssim":["AARLCC Special Collections"],"collection_ssim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1462,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"containers_ssim":["box 32"],"_nest_path_":"/components#3/components#223/components#34","_nest_parent_":"763de249ff7d9b630424e493_aspace_09339530b2ee739581cb68cd99d8f15c","_root_":"763de249ff7d9b630424e493","timestamp":"2026-04-23T01:31:38.219Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"763de249ff7d9b630424e493","title_filing_ssi":"Love-Thornell Collection of Black American Photographs","title_ssm":["Love-Thornell Collection of Black American Photographs"],"title_tesim":["Love-Thornell Collection of Black American Photographs"],"ead_ssi":"763de249ff7d9b630424e493","unitdate_ssm":["Circa 1850-1950"],"unitdate_inclusive_ssm":["Circa 1850-1950"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["AARLCC.2021.17","/repositories/2/resources/168"],"text":["AARLCC.2021.17","/repositories/2/resources/168","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","African American women","African American men","African American children","Families","Cabinet photographs","Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera","The Love-Thornell Collection of Black American Photographs is open for research.","The collection is arranged into eleven series: Series I. Photographs of Women, Series II. Photographs of Men, Series III. Photographs of Children, Series IV. Photographs of Couples and Families, Series V. Photographs of Celebrities, Series VI. Sports, Series VII. Military, Series VIII. Groups, Series IX. Printed Materials, Series X. Correspondence, and Series XI. Audio Visual Materials.","Children and Edcuation are a subseries of Series III. Photographs of Children, and Scrapbooks and Photo Albums are a sub-series of Series IV. Photographs of Couples and Families.","Jacquelyn \"Jacqui\" Love Thornell was born on April 27, 1948 in the Liberty City neighborhood of Miami, Florida to parents Minnie Tysdale Love and Wyatt Love. Jacqui moved to Newark, New Jersey in the 7th grade and attended Trent State University after graduating from high school. She earned a Bachelor of Arts degree in Early Childhood Education with minors in Math and Psychology. She worked as a teacher in a charter school in Massachusetts. She met and married her husband, Kwasi Thornell during graduate school. They have three daughters. Dr. Kwasi Thornell is a retired minister of the Presbyterian Church.","Jacqui worked as an assistant to the publisher for the Washington Post and the Miami Herald. She later became the Head of the Human Resources department at the Miami Herald. Jacqui left her position due to her health. For fifteen years, she collected memorabilia and photographs of African Americans from the mid-nineteenth century to the mid-twentieth century.","She began collecting photographs because, in her words, \"I wanted to see photographs of everyday Black people. Because I knew that there were a lot of Black people going to work everyday and going to church and thriving, but we don't see a lot of those pictures. So I decided that I was going to focus on everyday people... The more I looked the more I found, and the more I found the more I bought.\"","The Love-Thornell Collection of Black American Photographs received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","Description of the items rely on an inventory provided by Jacqui Love-Thornell which includes description and item numbers for each photograph from 1-776. Gaps witihin this range reflect items not received by Broward County Library Special Collections. Items numbered after 776 were provided description by Broward County Library Special Collections staff. ","View a selection of digitized materials from the Love-Thornell Collection of Black American Photographs in the Broward County Library Digital Archives.","The Love-Thornell Collection of Black American Photographs contains over 1300 photographs including cabinet cards, tintypes, daguerreotypes, ambrotypes, stereotypes, cartes de visite and postcards documenting Black American life from the mid-nineteenth to mid-twentieth century. Jaquelyn Love-Thornell collected the photographs over a 15-year period.","Books from this collection were cataloged in the Broward County Library catalog with the prefix \"LOT\".","AARLCC Special Collections","English"],"unitid_tesim":["AARLCC.2021.17","/repositories/2/resources/168"],"normalized_date_ssm":["Circa 1850-1950"],"normalized_title_ssm":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"collection_title_tesim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"collection_ssim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"repository_ssm":["AARLCC Special Collections"],"repository_ssim":["AARLCC Special Collections"],"acqinfo_ssim":["Jaquelyn Love-Thornell donated the materials to AARLCC Special Collections on November 15, 2021 (Accession AARLCC-2021.17)."],"access_subjects_ssim":["African American women","African American men","African American children","Families","Cabinet photographs","Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera"],"access_subjects_ssm":["African American women","African American men","African American children","Families","Cabinet photographs","Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera"],"has_online_content_ssim":["false"],"extent_ssm":["43 Boxes","39 Photograph Binder Boxes","1 Hollinger Box","2 Oversize Print Boxes","1 Box (irregular size)","13 Books"],"extent_tesim":["43 Boxes","39 Photograph Binder Boxes","1 Hollinger Box","2 Oversize Print Boxes","1 Box (irregular size)","13 Books"],"genreform_ssim":["Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera"],"date_range_isim":[1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950],"accessrestrict_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The Love-Thornell Collection of Black American Photographs is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into eleven series: Series I. Photographs of Women, Series II. Photographs of Men, Series III. Photographs of Children, Series IV. Photographs of Couples and Families, Series V. Photographs of Celebrities, Series VI. Sports, Series VII. Military, Series VIII. Groups, Series IX. Printed Materials, Series X. Correspondence, and Series XI. Audio Visual Materials.\u003c/p\u003e\n","\u003cp\u003eChildren and Edcuation are a subseries of Series III. Photographs of Children, and Scrapbooks and Photo Albums are a sub-series of Series IV. Photographs of Couples and Families.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into eleven series: Series I. Photographs of Women, Series II. Photographs of Men, Series III. Photographs of Children, Series IV. Photographs of Couples and Families, Series V. Photographs of Celebrities, Series VI. Sports, Series VII. Military, Series VIII. Groups, Series IX. Printed Materials, Series X. Correspondence, and Series XI. Audio Visual Materials.","Children and Edcuation are a subseries of Series III. Photographs of Children, and Scrapbooks and Photo Albums are a sub-series of Series IV. Photographs of Couples and Families."],"bioghist_html_tesm":["\u003cp\u003eJacquelyn \"Jacqui\" Love Thornell was born on April 27, 1948 in the Liberty City neighborhood of Miami, Florida to parents Minnie Tysdale Love and Wyatt Love. Jacqui moved to Newark, New Jersey in the 7th grade and attended Trent State University after graduating from high school. She earned a Bachelor of Arts degree in Early Childhood Education with minors in Math and Psychology. She worked as a teacher in a charter school in Massachusetts. She met and married her husband, Kwasi Thornell during graduate school. They have three daughters. Dr. Kwasi Thornell is a retired minister of the Presbyterian Church.\u003c/p\u003e\n","\u003cp\u003eJacqui worked as an assistant to the publisher for the Washington Post and the Miami Herald. She later became the Head of the Human Resources department at the Miami Herald. Jacqui left her position due to her health. For fifteen years, she collected memorabilia and photographs of African Americans from the mid-nineteenth century to the mid-twentieth century.\u003c/p\u003e\n","\u003cp\u003eShe began collecting photographs because, in her words, \"I wanted to see photographs of everyday Black people. Because I knew that there were a lot of Black people going to work everyday and going to church and thriving, but we don't see a lot of those pictures. So I decided that I was going to focus on everyday people... The more I looked the more I found, and the more I found the more I bought.\"\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Jacquelyn \"Jacqui\" Love Thornell was born on April 27, 1948 in the Liberty City neighborhood of Miami, Florida to parents Minnie Tysdale Love and Wyatt Love. Jacqui moved to Newark, New Jersey in the 7th grade and attended Trent State University after graduating from high school. She earned a Bachelor of Arts degree in Early Childhood Education with minors in Math and Psychology. She worked as a teacher in a charter school in Massachusetts. She met and married her husband, Kwasi Thornell during graduate school. They have three daughters. Dr. Kwasi Thornell is a retired minister of the Presbyterian Church.","Jacqui worked as an assistant to the publisher for the Washington Post and the Miami Herald. She later became the Head of the Human Resources department at the Miami Herald. Jacqui left her position due to her health. For fifteen years, she collected memorabilia and photographs of African Americans from the mid-nineteenth century to the mid-twentieth century.","She began collecting photographs because, in her words, \"I wanted to see photographs of everyday Black people. Because I knew that there were a lot of Black people going to work everyday and going to church and thriving, but we don't see a lot of those pictures. So I decided that I was going to focus on everyday people... The more I looked the more I found, and the more I found the more I bought.\""],"prefercite_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs, AARLCC Special Collections, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["The Love-Thornell Collection of Black American Photographs, AARLCC Special Collections, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e","\u003cp\u003eDescription of the items rely on an inventory provided by Jacqui Love-Thornell which includes description and item numbers for each photograph from 1-776. Gaps witihin this range reflect items not received by Broward County Library Special Collections. Items numbered after 776 were provided description by Broward County Library Special Collections staff. \u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The Love-Thornell Collection of Black American Photographs received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","Description of the items rely on an inventory provided by Jacqui Love-Thornell which includes description and item numbers for each photograph from 1-776. Gaps witihin this range reflect items not received by Broward County Library Special Collections. Items numbered after 776 were provided description by Broward County Library Special Collections staff. "],"relatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://digitalarchives.broward.org/digital/collection/p16146coll35/search\" target=\"_blank\"\u003eView a selection of digitized materials from the Love-Thornell Collection of Black American Photographs in the Broward County Library Digital Archives.\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Digital Materials"],"relatedmaterial_tesim":["View a selection of digitized materials from the Love-Thornell Collection of Black American Photographs in the Broward County Library Digital Archives."],"scopecontent_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs contains over 1300 photographs including cabinet cards, tintypes, daguerreotypes, ambrotypes, stereotypes, cartes de visite and postcards documenting Black American life from the mid-nineteenth to mid-twentieth century. Jaquelyn Love-Thornell collected the photographs over a 15-year period.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Love-Thornell Collection of Black American Photographs contains over 1300 photographs including cabinet cards, tintypes, daguerreotypes, ambrotypes, stereotypes, cartes de visite and postcards documenting Black American life from the mid-nineteenth to mid-twentieth century. Jaquelyn Love-Thornell collected the photographs over a 15-year period."],"separatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://broward.ent.sirsi.net/client/en_US/default/search/results?qu=LOT\u0026amp;qf=LOCATION%09Shelf+Location%091%3AAF-SPC%09AARLCC+Special+Collections\" target=\"_blank\"\u003eBooks from this collection were cataloged in the Broward County Library catalog with the prefix \"LOT\".\u003c/a\u003e\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Books from this collection were cataloged in the Broward County Library catalog with the prefix \"LOT\"."],"names_ssim":["AARLCC Special Collections"],"corpname_ssim":["AARLCC Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1704,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"763de249ff7d9b630424e493","timestamp":"2026-04-23T01:31:38.219Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_2bfc653bb7f6f292c231841c729030b6"}},{"id":"763de249ff7d9b630424e493_aspace_523bff3de2041a7f3b3ef66c10bd7b1b","type":"Item","attributes":{"title":"Woman dressed in ruffle garment with flowers and a broach. Wiseman Hico, Tex. Cabinet card #730., Undated","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_523bff3de2041a7f3b3ef66c10bd7b1b#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eDigital Archives Identifier: ARL_202117_IMG_0180\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_523bff3de2041a7f3b3ef66c10bd7b1b#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_523bff3de2041a7f3b3ef66c10bd7b1b","ref_ssm":["aspace_523bff3de2041a7f3b3ef66c10bd7b1b","aspace_523bff3de2041a7f3b3ef66c10bd7b1b"],"id":"763de249ff7d9b630424e493_aspace_523bff3de2041a7f3b3ef66c10bd7b1b","title_filing_ssi":"Woman dressed in ruffle garment with flowers and a broach. Wiseman Hico, Tex. Cabinet card #730.","title_ssm":["Woman dressed in ruffle garment with flowers and a broach. Wiseman Hico, Tex. 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Cabinet card #730., Undated","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Women","/repositories/2/archival_objects/4877","box 5","Digital Archives Identifier: ARL_202117_IMG_0180"],"component_level_isim":[2],"parent_ids_ssim":["763de249ff7d9b630424e493","763de249ff7d9b630424e493_aspace_64068aea56cbdd06ed3547509b8afdf6"],"parent_unittitles_ssm":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Women"],"parent_unittitles_tesim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Women"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/4877"],"repository_ssim":["AARLCC Special Collections"],"collection_ssim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":180,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"containers_ssim":["box 5"],"scopecontent_html_tesm":["\u003cp\u003eDigital Archives Identifier: ARL_202117_IMG_0180\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Digital Archives Identifier: ARL_202117_IMG_0180"],"_nest_path_":"/components#0/components#178","_nest_parent_":"763de249ff7d9b630424e493_aspace_64068aea56cbdd06ed3547509b8afdf6","_root_":"763de249ff7d9b630424e493","timestamp":"2026-04-23T01:31:38.219Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"763de249ff7d9b630424e493","title_filing_ssi":"Love-Thornell Collection of Black American Photographs","title_ssm":["Love-Thornell Collection of Black American Photographs"],"title_tesim":["Love-Thornell Collection of Black American Photographs"],"ead_ssi":"763de249ff7d9b630424e493","unitdate_ssm":["Circa 1850-1950"],"unitdate_inclusive_ssm":["Circa 1850-1950"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["AARLCC.2021.17","/repositories/2/resources/168"],"text":["AARLCC.2021.17","/repositories/2/resources/168","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","African American women","African American men","African American children","Families","Cabinet photographs","Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera","The Love-Thornell Collection of Black American Photographs is open for research.","The collection is arranged into eleven series: Series I. Photographs of Women, Series II. Photographs of Men, Series III. Photographs of Children, Series IV. Photographs of Couples and Families, Series V. Photographs of Celebrities, Series VI. Sports, Series VII. Military, Series VIII. Groups, Series IX. Printed Materials, Series X. Correspondence, and Series XI. Audio Visual Materials.","Children and Edcuation are a subseries of Series III. Photographs of Children, and Scrapbooks and Photo Albums are a sub-series of Series IV. Photographs of Couples and Families.","Jacquelyn \"Jacqui\" Love Thornell was born on April 27, 1948 in the Liberty City neighborhood of Miami, Florida to parents Minnie Tysdale Love and Wyatt Love. Jacqui moved to Newark, New Jersey in the 7th grade and attended Trent State University after graduating from high school. She earned a Bachelor of Arts degree in Early Childhood Education with minors in Math and Psychology. She worked as a teacher in a charter school in Massachusetts. She met and married her husband, Kwasi Thornell during graduate school. They have three daughters. Dr. Kwasi Thornell is a retired minister of the Presbyterian Church.","Jacqui worked as an assistant to the publisher for the Washington Post and the Miami Herald. She later became the Head of the Human Resources department at the Miami Herald. Jacqui left her position due to her health. For fifteen years, she collected memorabilia and photographs of African Americans from the mid-nineteenth century to the mid-twentieth century.","She began collecting photographs because, in her words, \"I wanted to see photographs of everyday Black people. Because I knew that there were a lot of Black people going to work everyday and going to church and thriving, but we don't see a lot of those pictures. So I decided that I was going to focus on everyday people... The more I looked the more I found, and the more I found the more I bought.\"","The Love-Thornell Collection of Black American Photographs received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","Description of the items rely on an inventory provided by Jacqui Love-Thornell which includes description and item numbers for each photograph from 1-776. Gaps witihin this range reflect items not received by Broward County Library Special Collections. Items numbered after 776 were provided description by Broward County Library Special Collections staff. ","View a selection of digitized materials from the Love-Thornell Collection of Black American Photographs in the Broward County Library Digital Archives.","The Love-Thornell Collection of Black American Photographs contains over 1300 photographs including cabinet cards, tintypes, daguerreotypes, ambrotypes, stereotypes, cartes de visite and postcards documenting Black American life from the mid-nineteenth to mid-twentieth century. Jaquelyn Love-Thornell collected the photographs over a 15-year period.","Books from this collection were cataloged in the Broward County Library catalog with the prefix \"LOT\".","AARLCC Special Collections","English"],"unitid_tesim":["AARLCC.2021.17","/repositories/2/resources/168"],"normalized_date_ssm":["Circa 1850-1950"],"normalized_title_ssm":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"collection_title_tesim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"collection_ssim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950"],"repository_ssm":["AARLCC Special Collections"],"repository_ssim":["AARLCC Special Collections"],"acqinfo_ssim":["Jaquelyn Love-Thornell donated the materials to AARLCC Special Collections on November 15, 2021 (Accession AARLCC-2021.17)."],"access_subjects_ssim":["African American women","African American men","African American children","Families","Cabinet photographs","Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera"],"access_subjects_ssm":["African American women","African American men","African American children","Families","Cabinet photographs","Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera"],"has_online_content_ssim":["false"],"extent_ssm":["43 Boxes","39 Photograph Binder Boxes","1 Hollinger Box","2 Oversize Print Boxes","1 Box (irregular size)","13 Books"],"extent_tesim":["43 Boxes","39 Photograph Binder Boxes","1 Hollinger Box","2 Oversize Print Boxes","1 Box (irregular size)","13 Books"],"genreform_ssim":["Group portraits","Photographs","Tintypes","Stereographs","Postcards","Daguerreotypes","Correspondence","School yearbooks","Ephemera"],"date_range_isim":[1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950],"accessrestrict_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The Love-Thornell Collection of Black American Photographs is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into eleven series: Series I. Photographs of Women, Series II. Photographs of Men, Series III. Photographs of Children, Series IV. Photographs of Couples and Families, Series V. Photographs of Celebrities, Series VI. Sports, Series VII. Military, Series VIII. Groups, Series IX. Printed Materials, Series X. Correspondence, and Series XI. Audio Visual Materials.\u003c/p\u003e\n","\u003cp\u003eChildren and Edcuation are a subseries of Series III. Photographs of Children, and Scrapbooks and Photo Albums are a sub-series of Series IV. Photographs of Couples and Families.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into eleven series: Series I. Photographs of Women, Series II. Photographs of Men, Series III. Photographs of Children, Series IV. Photographs of Couples and Families, Series V. Photographs of Celebrities, Series VI. Sports, Series VII. Military, Series VIII. Groups, Series IX. Printed Materials, Series X. Correspondence, and Series XI. Audio Visual Materials.","Children and Edcuation are a subseries of Series III. Photographs of Children, and Scrapbooks and Photo Albums are a sub-series of Series IV. Photographs of Couples and Families."],"bioghist_html_tesm":["\u003cp\u003eJacquelyn \"Jacqui\" Love Thornell was born on April 27, 1948 in the Liberty City neighborhood of Miami, Florida to parents Minnie Tysdale Love and Wyatt Love. Jacqui moved to Newark, New Jersey in the 7th grade and attended Trent State University after graduating from high school. She earned a Bachelor of Arts degree in Early Childhood Education with minors in Math and Psychology. She worked as a teacher in a charter school in Massachusetts. She met and married her husband, Kwasi Thornell during graduate school. They have three daughters. Dr. Kwasi Thornell is a retired minister of the Presbyterian Church.\u003c/p\u003e\n","\u003cp\u003eJacqui worked as an assistant to the publisher for the Washington Post and the Miami Herald. She later became the Head of the Human Resources department at the Miami Herald. Jacqui left her position due to her health. For fifteen years, she collected memorabilia and photographs of African Americans from the mid-nineteenth century to the mid-twentieth century.\u003c/p\u003e\n","\u003cp\u003eShe began collecting photographs because, in her words, \"I wanted to see photographs of everyday Black people. Because I knew that there were a lot of Black people going to work everyday and going to church and thriving, but we don't see a lot of those pictures. So I decided that I was going to focus on everyday people... The more I looked the more I found, and the more I found the more I bought.\"\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Jacquelyn \"Jacqui\" Love Thornell was born on April 27, 1948 in the Liberty City neighborhood of Miami, Florida to parents Minnie Tysdale Love and Wyatt Love. Jacqui moved to Newark, New Jersey in the 7th grade and attended Trent State University after graduating from high school. She earned a Bachelor of Arts degree in Early Childhood Education with minors in Math and Psychology. She worked as a teacher in a charter school in Massachusetts. She met and married her husband, Kwasi Thornell during graduate school. They have three daughters. Dr. Kwasi Thornell is a retired minister of the Presbyterian Church.","Jacqui worked as an assistant to the publisher for the Washington Post and the Miami Herald. She later became the Head of the Human Resources department at the Miami Herald. Jacqui left her position due to her health. For fifteen years, she collected memorabilia and photographs of African Americans from the mid-nineteenth century to the mid-twentieth century.","She began collecting photographs because, in her words, \"I wanted to see photographs of everyday Black people. Because I knew that there were a lot of Black people going to work everyday and going to church and thriving, but we don't see a lot of those pictures. So I decided that I was going to focus on everyday people... The more I looked the more I found, and the more I found the more I bought.\""],"prefercite_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs, AARLCC Special Collections, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["The Love-Thornell Collection of Black American Photographs, AARLCC Special Collections, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e","\u003cp\u003eDescription of the items rely on an inventory provided by Jacqui Love-Thornell which includes description and item numbers for each photograph from 1-776. Gaps witihin this range reflect items not received by Broward County Library Special Collections. Items numbered after 776 were provided description by Broward County Library Special Collections staff. \u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The Love-Thornell Collection of Black American Photographs received item level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","Description of the items rely on an inventory provided by Jacqui Love-Thornell which includes description and item numbers for each photograph from 1-776. Gaps witihin this range reflect items not received by Broward County Library Special Collections. Items numbered after 776 were provided description by Broward County Library Special Collections staff. "],"relatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://digitalarchives.broward.org/digital/collection/p16146coll35/search\" target=\"_blank\"\u003eView a selection of digitized materials from the Love-Thornell Collection of Black American Photographs in the Broward County Library Digital Archives.\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Digital Materials"],"relatedmaterial_tesim":["View a selection of digitized materials from the Love-Thornell Collection of Black American Photographs in the Broward County Library Digital Archives."],"scopecontent_html_tesm":["\u003cp\u003eThe Love-Thornell Collection of Black American Photographs contains over 1300 photographs including cabinet cards, tintypes, daguerreotypes, ambrotypes, stereotypes, cartes de visite and postcards documenting Black American life from the mid-nineteenth to mid-twentieth century. Jaquelyn Love-Thornell collected the photographs over a 15-year period.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Love-Thornell Collection of Black American Photographs contains over 1300 photographs including cabinet cards, tintypes, daguerreotypes, ambrotypes, stereotypes, cartes de visite and postcards documenting Black American life from the mid-nineteenth to mid-twentieth century. Jaquelyn Love-Thornell collected the photographs over a 15-year period."],"separatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://broward.ent.sirsi.net/client/en_US/default/search/results?qu=LOT\u0026amp;qf=LOCATION%09Shelf+Location%091%3AAF-SPC%09AARLCC+Special+Collections\" target=\"_blank\"\u003eBooks from this collection were cataloged in the Broward County Library catalog with the prefix \"LOT\".\u003c/a\u003e\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Books from this collection were cataloged in the Broward County Library catalog with the prefix \"LOT\"."],"names_ssim":["AARLCC Special Collections"],"corpname_ssim":["AARLCC Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1704,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"763de249ff7d9b630424e493","timestamp":"2026-04-23T01:31:38.219Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_523bff3de2041a7f3b3ef66c10bd7b1b"}},{"id":"af523c30b90933b50a837e53_aspace_3a5d022df3d38b39d2a85ccc230fc870","type":"Item","attributes":{"title":"Woman dressed in Spanish attire for La Verbena del Tabaco Festival","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/af523c30b90933b50a837e53_aspace_3a5d022df3d38b39d2a85ccc230fc870#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_3a5d022df3d38b39d2a85ccc230fc870","ref_ssm":["aspace_3a5d022df3d38b39d2a85ccc230fc870","aspace_3a5d022df3d38b39d2a85ccc230fc870"],"id":"af523c30b90933b50a837e53_aspace_3a5d022df3d38b39d2a85ccc230fc870","title_filing_ssi":"Woman dressed in Spanish attire for La Verbena del Tabaco Festival","title_ssm":["Woman dressed in Spanish attire for La Verbena del Tabaco Festival"],"title_tesim":["Woman dressed in Spanish attire for La Verbena del Tabaco Festival"],"normalized_title_ssm":["Woman dressed in Spanish attire for La Verbena del Tabaco Festival"],"text":["Woman dressed in Spanish attire for La Verbena del Tabaco Festival","Burgert Brothers collection of Tampa photographs, bulk 1890-1960","V1765-V1974","5","/repositories/2/archival_objects/146609","box 18"],"component_level_isim":[2],"parent_ids_ssim":["af523c30b90933b50a837e53","af523c30b90933b50a837e53_aspace_e3f2402bb04a0d3d577523149724353f"],"parent_unittitles_ssm":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960","V1765-V1974"],"parent_unittitles_tesim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960","V1765-V1974"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["5","/repositories/2/archival_objects/146609"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":690,"parent_access_restrict_tesm":["The collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida."],"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 18"],"_nest_path_":"/components#17/components#4","_nest_parent_":"af523c30b90933b50a837e53_aspace_e3f2402bb04a0d3d577523149724353f","_root_":"af523c30b90933b50a837e53","_version_":1879740859650408448,"timestamp":"2026-10-22T09:16:19.330Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"af523c30b90933b50a837e53","title_ssm":["Burgert Brothers collection of Tampa photographs"],"title_tesim":["Burgert Brothers collection of Tampa photographs"],"ead_ssi":"af523c30b90933b50a837e53","unitdate_ssm":["1890-1960"],"unitdate_bulk_ssim":["1890-1960"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2000-03","/repositories/2/resources/458"],"text":["MS-2000-03","/repositories/2/resources/458","Burgert Brothers collection of Tampa photographs, bulk 1890-1960","The collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida.","This collection is currently unprocessed.","Samuel Burgert was born in Cincinnati, Ohio in 1849. He later married Adelina Jane Barlow who was a native of Shreveport, Louisana. During the 1880's Samuel moved his wife and four sons to Florida. Locating in Jacksonville, Samuel worked as a photographer, during which time Adelina gave birth to twin boys. Near the end of the 19th century the Burgert family finally moved to Tampa where three of the Burgerts worked as photographers. Samuel's sons Al and Jean started the Burgert Brothers firm around 1917. They were widley known as skilled, and reputable photographers who maintained the finest equipment and didn't discriminate. They worked nearly every aspect of the business, including news, portrait, and commercial photography. Throughout their careers they took hundreds of thousands of photographs which recorded the development of Tampa from a small town to a major city. ","Synder, Robert E. and Jack B. Morre,  Sunland Tribune  , 16 (November 1990) pp. 19-26.","For further reading see: Synder, Robert B. and Jack B. Moore,  Pioneer Commercial Photography- The Burgert Brothers , Tampa, Florida, University Press of Flordia: Gainesville, 1992.","The collection consists of Burgert Brothers prints derived from various sources and assembled into a composite collection.  The two principle sources for the Burgert images were the photographic holdings of the Tony Pizzo and Hampton Dunn collections. Both had considerable numbers of Burgert prints and negatives dispersed under various subject headings. The collection was assembled into a single, coherent collection in 1993.","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","Burgert Brothers Commercial Photographers","English"],"unitid_tesim":["MS-2000-03","/repositories/2/resources/458"],"normalized_date_ssm":["bulk 1890-1960"],"normalized_title_ssm":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"collection_title_tesim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"collection_ssim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Burgert Brothers Commercial Photographers"],"creator_ssim":["Burgert Brothers Commercial Photographers"],"creator_corpname_ssim":["Burgert Brothers Commercial Photographers"],"creators_ssim":["Burgert Brothers Commercial Photographers"],"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."],"has_online_content_ssim":["false"],"extent_ssm":["4.39 Linear Feet","21 boxes"],"extent_tesim":["4.39 Linear Feet","21 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida."],"arrangement_html_tesm":["\u003cp\u003eThis collection is currently unprocessed.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["This collection is currently unprocessed."],"bioghist_html_tesm":["\u003cp\u003eSamuel Burgert was born in Cincinnati, Ohio in 1849. He later married Adelina Jane Barlow who was a native of Shreveport, Louisana. During the 1880's Samuel moved his wife and four sons to Florida. Locating in Jacksonville, Samuel worked as a photographer, during which time Adelina gave birth to twin boys. Near the end of the 19th century the Burgert family finally moved to Tampa where three of the Burgerts worked as photographers. Samuel's sons Al and Jean started the Burgert Brothers firm around 1917. They were widley known as skilled, and reputable photographers who maintained the finest equipment and didn't discriminate. They worked nearly every aspect of the business, including news, portrait, and commercial photography. Throughout their careers they took hundreds of thousands of photographs which recorded the development of Tampa from a small town to a major city. \u003c/p\u003e\n","\u003cp\u003eSynder, Robert E. and Jack B. Morre, \u003cemph render=\"italic\"\u003eSunland Tribune\u003c/emph\u003e , 16 (November 1990) pp. 19-26.\u003c/p\u003e\n","\u003cp\u003eFor further reading see: Synder, Robert B. and Jack B. Moore, \u003cemph render=\"italic\"\u003ePioneer Commercial Photography- The Burgert Brothers\u003c/emph\u003e, Tampa, Florida, University Press of Flordia: Gainesville, 1992.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Samuel Burgert was born in Cincinnati, Ohio in 1849. He later married Adelina Jane Barlow who was a native of Shreveport, Louisana. During the 1880's Samuel moved his wife and four sons to Florida. Locating in Jacksonville, Samuel worked as a photographer, during which time Adelina gave birth to twin boys. Near the end of the 19th century the Burgert family finally moved to Tampa where three of the Burgerts worked as photographers. Samuel's sons Al and Jean started the Burgert Brothers firm around 1917. They were widley known as skilled, and reputable photographers who maintained the finest equipment and didn't discriminate. They worked nearly every aspect of the business, including news, portrait, and commercial photography. Throughout their careers they took hundreds of thousands of photographs which recorded the development of Tampa from a small town to a major city. ","Synder, Robert E. and Jack B. Morre,  Sunland Tribune  , 16 (November 1990) pp. 19-26.","For further reading see: Synder, Robert B. and Jack B. Moore,  Pioneer Commercial Photography- The Burgert Brothers , Tampa, Florida, University Press of Flordia: Gainesville, 1992."],"prefercite_html_tesm":["\u003cp\u003eBurgert Brothers Collection of Tampa Photographs, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Burgert Brothers Collection of Tampa Photographs, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of Burgert Brothers prints derived from various sources and assembled into a composite collection.\u0026#xA0; The two principle sources for the Burgert images were the photographic holdings of the Tony Pizzo and Hampton Dunn collections. Both had considerable numbers of Burgert prints and negatives dispersed under various subject headings. The collection was assembled into a single, coherent collection in 1993.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection consists of Burgert Brothers prints derived from various sources and assembled into a composite collection.  The two principle sources for the Burgert images were the photographic holdings of the Tony Pizzo and Hampton Dunn collections. Both had considerable numbers of Burgert prints and negatives dispersed under various subject headings. The collection was assembled into a single, coherent collection in 1993."],"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","Burgert Brothers Commercial Photographers"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Burgert Brothers Commercial Photographers"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":774,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1879740859650408448,"_root_":"af523c30b90933b50a837e53","timestamp":"2026-10-22T09:16:19.330Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/af523c30b90933b50a837e53_aspace_3a5d022df3d38b39d2a85ccc230fc870"}},{"id":"af523c30b90933b50a837e53_aspace_13a822263997ceea034418618e34a5fc","type":"Item","attributes":{"title":"Woman dressed in Spanish attire for La Verbena del Tabaco Festival","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/af523c30b90933b50a837e53_aspace_13a822263997ceea034418618e34a5fc#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_13a822263997ceea034418618e34a5fc","ref_ssm":["aspace_13a822263997ceea034418618e34a5fc","aspace_13a822263997ceea034418618e34a5fc"],"id":"af523c30b90933b50a837e53_aspace_13a822263997ceea034418618e34a5fc","title_filing_ssi":"Woman dressed in Spanish attire for La Verbena del Tabaco Festival","title_ssm":["Woman dressed in Spanish attire for La Verbena del Tabaco Festival"],"title_tesim":["Woman dressed in Spanish attire for La Verbena del Tabaco Festival"],"normalized_title_ssm":["Woman dressed in Spanish attire for La Verbena del Tabaco Festival"],"text":["Woman dressed in Spanish attire for La Verbena del Tabaco Festival","Burgert Brothers collection of Tampa photographs, bulk 1890-1960","V1765-V1974","10","/repositories/2/archival_objects/146683","box 18"],"component_level_isim":[2],"parent_ids_ssim":["af523c30b90933b50a837e53","af523c30b90933b50a837e53_aspace_e3f2402bb04a0d3d577523149724353f"],"parent_unittitles_ssm":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960","V1765-V1974"],"parent_unittitles_tesim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960","V1765-V1974"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["10","/repositories/2/archival_objects/146683"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":695,"parent_access_restrict_tesm":["The collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida."],"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 18"],"_nest_path_":"/components#17/components#9","_nest_parent_":"af523c30b90933b50a837e53_aspace_e3f2402bb04a0d3d577523149724353f","_root_":"af523c30b90933b50a837e53","_version_":1879740859650408448,"timestamp":"2026-10-22T09:16:19.330Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"af523c30b90933b50a837e53","title_ssm":["Burgert Brothers collection of Tampa photographs"],"title_tesim":["Burgert Brothers collection of Tampa photographs"],"ead_ssi":"af523c30b90933b50a837e53","unitdate_ssm":["1890-1960"],"unitdate_bulk_ssim":["1890-1960"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2000-03","/repositories/2/resources/458"],"text":["MS-2000-03","/repositories/2/resources/458","Burgert Brothers collection of Tampa photographs, bulk 1890-1960","The collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida.","This collection is currently unprocessed.","Samuel Burgert was born in Cincinnati, Ohio in 1849. He later married Adelina Jane Barlow who was a native of Shreveport, Louisana. During the 1880's Samuel moved his wife and four sons to Florida. Locating in Jacksonville, Samuel worked as a photographer, during which time Adelina gave birth to twin boys. Near the end of the 19th century the Burgert family finally moved to Tampa where three of the Burgerts worked as photographers. Samuel's sons Al and Jean started the Burgert Brothers firm around 1917. They were widley known as skilled, and reputable photographers who maintained the finest equipment and didn't discriminate. They worked nearly every aspect of the business, including news, portrait, and commercial photography. Throughout their careers they took hundreds of thousands of photographs which recorded the development of Tampa from a small town to a major city. ","Synder, Robert E. and Jack B. Morre,  Sunland Tribune  , 16 (November 1990) pp. 19-26.","For further reading see: Synder, Robert B. and Jack B. Moore,  Pioneer Commercial Photography- The Burgert Brothers , Tampa, Florida, University Press of Flordia: Gainesville, 1992.","The collection consists of Burgert Brothers prints derived from various sources and assembled into a composite collection.  The two principle sources for the Burgert images were the photographic holdings of the Tony Pizzo and Hampton Dunn collections. Both had considerable numbers of Burgert prints and negatives dispersed under various subject headings. 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