{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64887","prev":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64886","next":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64888","last":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65767"},"meta":{"pages":{"current_page":64887,"next_page":64888,"prev_page":64886,"total_pages":65767,"limit_value":10,"offset_value":648860,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"763de249ff7d9b630424e493_aspace_edf7e6fb0b2a0136abba7fa40bf9c524","type":"Item","attributes":{"title":"Woman holding baby. Photographer and studio unknown. Cabinet card., Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_edf7e6fb0b2a0136abba7fa40bf9c524#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_edf7e6fb0b2a0136abba7fa40bf9c524","ref_ssm":["aspace_edf7e6fb0b2a0136abba7fa40bf9c524","aspace_edf7e6fb0b2a0136abba7fa40bf9c524"],"id":"763de249ff7d9b630424e493_aspace_edf7e6fb0b2a0136abba7fa40bf9c524","title_filing_ssi":"Woman holding baby. Photographer and studio unknown. Cabinet card.","title_ssm":["Woman holding baby. Photographer and studio unknown. Cabinet card."],"title_tesim":["Woman holding baby. Photographer and studio unknown. Cabinet card."],"unitdate_inclusive_ssm":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman holding baby. Photographer and studio unknown. Cabinet card., Undated"],"text":["Woman holding baby. Photographer and studio unknown. Cabinet card., Undated","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Couples and Families","/repositories/2/archival_objects/7061","box 28"],"component_level_isim":[2],"parent_ids_ssim":["763de249ff7d9b630424e493","763de249ff7d9b630424e493_aspace_acb689989cbc6d5b9a27e48d4327b0d6"],"parent_unittitles_ssm":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Couples and Families"],"parent_unittitles_tesim":["Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Couples and Families"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/7061"],"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":1324,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"containers_ssim":["box 28"],"_nest_path_":"/components#3/components#120","_nest_parent_":"763de249ff7d9b630424e493_aspace_acb689989cbc6d5b9a27e48d4327b0d6","_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. 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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_edf7e6fb0b2a0136abba7fa40bf9c524"}},{"id":"763de249ff7d9b630424e493_aspace_0c8181f3da6989c13e79ad7adb3c1756","type":"Item","attributes":{"title":"Woman holding baby. Photographer and studio unknown. Photograph #1303., Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_0c8181f3da6989c13e79ad7adb3c1756#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_0c8181f3da6989c13e79ad7adb3c1756","ref_ssm":["aspace_0c8181f3da6989c13e79ad7adb3c1756","aspace_0c8181f3da6989c13e79ad7adb3c1756"],"id":"763de249ff7d9b630424e493_aspace_0c8181f3da6989c13e79ad7adb3c1756","title_filing_ssi":"Woman holding baby. Photographer and studio unknown. Photograph #1303.","title_ssm":["Woman holding baby. Photographer and studio unknown. Photograph #1303."],"title_tesim":["Woman holding baby. Photographer and studio unknown. Photograph #1303."],"unitdate_inclusive_ssm":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman holding baby. Photographer and studio unknown. Photograph #1303., Undated"],"text":["Woman holding baby. Photographer and studio unknown. Photograph #1303., Undated","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Couples and Families","Scrapbooks and Photo Albums","/repositories/2/archival_objects/7320","box 34"],"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/7320"],"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":1569,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"containers_ssim":["box 34"],"_nest_path_":"/components#3/components#223/components#141","_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. 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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_0c8181f3da6989c13e79ad7adb3c1756"}},{"id":"18ce43a3c782b797db9fa781_aspace_179451","type":"Item","attributes":{"title":"[Woman holding boquet]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179451#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179451#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179451","ref_ssm":["aspace_179451","aspace_179451"],"id":"18ce43a3c782b797db9fa781_aspace_179451","title_filing_ssi":"[Woman holding boquet]","title_ssm":["[Woman holding boquet]"],"title_tesim":["[Woman holding boquet]"],"normalized_title_ssm":["[Woman holding boquet]"],"text":["[Woman holding boquet]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Bolles Family Part II","Item 56","/repositories/2/archival_objects/83448","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179893","18ce43a3c782b797db9fa781_aspace_179895"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Bolles Family Part II"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Bolles Family Part II"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 56","/repositories/2/archival_objects/83448"],"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":2153,"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\u003eBlack and white photograph.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Black and white photograph."],"_nest_path_":"/components#32/components#0/components#35","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179895","_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_179451"}},{"id":"0a50f2ac73656983163041b4_aspace_2e6d42dbecd7ddd216251455d56285ef","type":"Item","attributes":{"title":"Woman Holding Fish with Catch of the Day Hanging on Rack Behind Her, 1939 August 21","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/0a50f2ac73656983163041b4_aspace_2e6d42dbecd7ddd216251455d56285ef#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_2e6d42dbecd7ddd216251455d56285ef","ref_ssm":["aspace_2e6d42dbecd7ddd216251455d56285ef","aspace_2e6d42dbecd7ddd216251455d56285ef"],"id":"0a50f2ac73656983163041b4_aspace_2e6d42dbecd7ddd216251455d56285ef","title_filing_ssi":"Woman Holding Fish with Catch of the Day Hanging on Rack Behind Her","title_ssm":["Woman Holding Fish with Catch of the Day Hanging on Rack Behind Her"],"title_tesim":["Woman Holding Fish with Catch of the Day Hanging on Rack Behind Her"],"unitdate_inclusive_ssm":["1939 August 21"],"normalized_date_ssm":["1939 August 21"],"normalized_title_ssm":["Woman Holding Fish with Catch of the Day Hanging on Rack Behind Her, 1939 August 21"],"text":["Woman Holding Fish with Catch of the Day Hanging on Rack Behind Her, 1939 August 21","Floyd Pyles Collection, Circa 1913-1995","Photographs and Photograph Albums","/repositories/4/archival_objects/20484","box 3","Item 23"],"component_level_isim":[2],"parent_ids_ssim":["0a50f2ac73656983163041b4","0a50f2ac73656983163041b4_aspace_b730eab3b316588b2622a263473951b1"],"parent_unittitles_ssm":["Floyd Pyles Collection, Circa 1913-1995","Photographs and Photograph Albums"],"parent_unittitles_tesim":["Floyd Pyles Collection, Circa 1913-1995","Photographs and Photograph Albums"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/4/archival_objects/20484"],"repository_ssim":["Broward County Historical Archives"],"collection_ssim":["Floyd Pyles Collection, Circa 1913-1995"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":69,"parent_access_restrict_tesm":["Floyd Pyles Collection is open for research."],"containers_ssim":["box 3","Item 23"],"_nest_path_":"/components#2/components#52","_nest_parent_":"0a50f2ac73656983163041b4_aspace_b730eab3b316588b2622a263473951b1","_root_":"0a50f2ac73656983163041b4","_version_":1876457698070888448,"timestamp":"2026-09-16T03:31:52.468Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"0a50f2ac73656983163041b4","title_filing_ssi":"Floyd Pyles Collection","title_ssm":["Floyd Pyles Collection"],"title_tesim":["Floyd Pyles Collection"],"ead_ssi":"0a50f2ac73656983163041b4","unitdate_ssm":["Circa 1913-1995"],"unitdate_inclusive_ssm":["Circa 1913-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["BCHA.1986.1","/repositories/4/resources/268"],"text":["BCHA.1986.1","/repositories/4/resources/268","Floyd Pyles Collection, Circa 1913-1995","Fort Lauderdale (Fla.)","Families -- Florida -- Broward County","Dwellings -- Florida -- Fort Lauderdale","Military uniforms","Buildings","Photographs","scrapbooks","Correspondence","Clippings","Floyd Pyles Collection is open for research.","Floyd Wayne Pyles (May 27, 1894 – June 27, 1977) was born in Monroe County, Ohio. His parents were Emma Elizabeth Boettner (1848-1900) and John Lewis Pyles (1859-1942), who had seven children together. At age 8 Floyd started his newspaper career working for his father who was at that time a newspaper publisher in Eads, Colorado. His father also was the editor of the Greely Daily Republican newspaper. In 1915, Floyd met and married his wife, Besse Belshe (1898-1986), a native of Missouri who was also living in Eads. ","After serving in the Signal Corps during World War I, he returned to the printing business. He worked for the Ordway New Era in the 1920s. Pyles worked as a tramp printer in many locations then moved to Fort Lauderdale in 1924. He began working at the Fort Lauderdale Daily News on October 6, 1924 as the foreman compositor (one of four employees in the mechanical department) under the owner Col. George W. Matthews. He continued under the Galvin brother's ownership, then Tom Stillwell, and then Robert H. Gore.","In 1958, Pyles was honored by an appointment to a 3-year term on the executive board of the Southern Newspaper Publishers Association. Eventually he became a Vice President of the Gore Newspapers Company. He retired in May 1969 with a career in Fort Lauderdale newspapers spanning 45 years, and a career in the newspaper business spanning 67 years.","Pyles was an active member of Park Temple Methodist Episcopal Church in Fort Lauderdale, serving as an usher, a member of the Board, and a member of the finance committee. He also belonged to the Masons, Shriners, York Rite Masons, Elks, American Legion, Forty and Eight, and the Veterans of World War I. He died in Fort Lauderdale in 1977.","This collection received file level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","The Floyd Pyles Collection contains personal papers, photographs, scrapbooks, correspondence, newspaper clippings, and awards belonging to Floyd Pyles, who worked for the Sun Sentinel and the Fort Lauderdale Daily News, eventually becoming Vice President of Gore Newspaper Company. Photographs depict the Pyles family, Fort Lauderdale, the 1926 hurricane, and Park Temple Methodist Church. The collection also includes the \"Pyles Prattle\" newsletter produced by Floyd Pyles.","The collection contains personal papers, photographs, scrapbooks, correspondence, newspaper clippings, and awards belonging to Floyd Pyles of Fort Lauderdale, Florida. Photographs depict the Pyles family, Fort Lauderdale, 1926 hurricane, and Park Temple Methodist Church. Collection also includes the \"Pyles Prattle\" newsletter produced by Floyd Pyles and his World War I military uniform."," Broward County Historical Archives","Park Temple Methodist Church (Fort Lauderdale, Fla.)","Pyles, Floyd W., 1894-1977","English"],"unitid_tesim":["BCHA.1986.1","/repositories/4/resources/268"],"normalized_date_ssm":["Circa 1913-1995"],"normalized_title_ssm":["Floyd Pyles Collection, Circa 1913-1995"],"collection_title_tesim":["Floyd Pyles Collection, Circa 1913-1995"],"collection_ssim":["Floyd Pyles Collection, Circa 1913-1995"],"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.)"],"acqinfo_ssim":["William G. Miller, Jr. donated the materials to the Broward County Historical Commission on May 28, 1986 (Accession BCHA-1986.1)."],"access_subjects_ssim":["Families -- Florida -- Broward County","Dwellings -- Florida -- Fort Lauderdale","Military uniforms","Buildings","Photographs","scrapbooks","Correspondence","Clippings"],"access_subjects_ssm":["Families -- Florida -- Broward County","Dwellings -- Florida -- Fort Lauderdale","Military uniforms","Buildings","Photographs","scrapbooks","Correspondence","Clippings"],"has_online_content_ssim":["false"],"extent_ssm":["7 Hollinger Boxes"],"extent_tesim":["7 Hollinger Boxes"],"genreform_ssim":["Photographs","scrapbooks","Correspondence","Clippings"],"date_range_isim":[1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995],"accessrestrict_html_tesm":["\u003cp\u003eFloyd Pyles Collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Floyd Pyles Collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eFloyd Wayne Pyles (May 27, 1894 \u0026#x2013; June 27, 1977) was born in Monroe County, Ohio. His parents were Emma Elizabeth Boettner (1848-1900) and John Lewis Pyles (1859-1942), who had seven children together. At age 8 Floyd started his newspaper career working for his father who was at that time a newspaper publisher in Eads, Colorado. His father also was the editor of the Greely Daily Republican newspaper. In 1915, Floyd met and married his wife, Besse Belshe (1898-1986), a native of Missouri who was also living in Eads. \u003c/p\u003e\n","\u003cp\u003eAfter serving in the Signal Corps during World War I, he returned to the printing business. He worked for the Ordway New Era in the 1920s. Pyles worked as a tramp printer in many locations then moved to Fort Lauderdale in 1924. He began working at the Fort Lauderdale Daily News on October 6, 1924 as the foreman compositor (one of four employees in the mechanical department) under the owner Col. George W. Matthews. He continued under the Galvin brother's ownership, then Tom Stillwell, and then Robert H. Gore.\u003c/p\u003e\n","\u003cp\u003eIn 1958, Pyles was honored by an appointment to a 3-year term on the executive board of the Southern Newspaper Publishers Association. Eventually he became a Vice President of the Gore Newspapers Company. He retired in May 1969 with a career in Fort Lauderdale newspapers spanning 45 years, and a career in the newspaper business spanning 67 years.\u003c/p\u003e\n","\u003cp\u003ePyles was an active member of Park Temple Methodist Episcopal Church in Fort Lauderdale, serving as an usher, a member of the Board, and a member of the finance committee. He also belonged to the Masons, Shriners, York Rite Masons, Elks, American Legion, Forty and Eight, and the Veterans of World War I. He died in Fort Lauderdale in 1977.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Floyd Wayne Pyles (May 27, 1894 – June 27, 1977) was born in Monroe County, Ohio. His parents were Emma Elizabeth Boettner (1848-1900) and John Lewis Pyles (1859-1942), who had seven children together. At age 8 Floyd started his newspaper career working for his father who was at that time a newspaper publisher in Eads, Colorado. His father also was the editor of the Greely Daily Republican newspaper. In 1915, Floyd met and married his wife, Besse Belshe (1898-1986), a native of Missouri who was also living in Eads. ","After serving in the Signal Corps during World War I, he returned to the printing business. He worked for the Ordway New Era in the 1920s. Pyles worked as a tramp printer in many locations then moved to Fort Lauderdale in 1924. He began working at the Fort Lauderdale Daily News on October 6, 1924 as the foreman compositor (one of four employees in the mechanical department) under the owner Col. George W. Matthews. He continued under the Galvin brother's ownership, then Tom Stillwell, and then Robert H. Gore.","In 1958, Pyles was honored by an appointment to a 3-year term on the executive board of the Southern Newspaper Publishers Association. Eventually he became a Vice President of the Gore Newspapers Company. He retired in May 1969 with a career in Fort Lauderdale newspapers spanning 45 years, and a career in the newspaper business spanning 67 years.","Pyles was an active member of Park Temple Methodist Episcopal Church in Fort Lauderdale, serving as an usher, a member of the Board, and a member of the finance committee. He also belonged to the Masons, Shriners, York Rite Masons, Elks, American Legion, Forty and Eight, and the Veterans of World War I. He died in Fort Lauderdale in 1977."],"prefercite_html_tesm":["\u003cp\u003eFloyd Pyles Collection, Broward County Historical Archives, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["Floyd Pyles Collection, Broward County Historical Archives, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThis collection received file level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection received file level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection."],"scopecontent_html_tesm":["\u003cp\u003eThe Floyd Pyles Collection contains personal papers, photographs, scrapbooks, correspondence, newspaper clippings, and awards belonging to Floyd Pyles, who worked for the Sun Sentinel and the Fort Lauderdale Daily News, eventually becoming Vice President of Gore Newspaper Company. Photographs depict the Pyles family, Fort Lauderdale, the 1926 hurricane, and Park Temple Methodist Church. The collection also includes the \"Pyles Prattle\" newsletter produced by Floyd Pyles.\u003c/p\u003e","\u003cp\u003eThe collection contains personal papers, photographs, scrapbooks, correspondence, newspaper clippings, and awards belonging to Floyd Pyles of Fort Lauderdale, Florida. Photographs depict the Pyles family, Fort Lauderdale, 1926 hurricane, and Park Temple Methodist Church. Collection also includes the \"Pyles Prattle\" newsletter produced by Floyd Pyles and his World War I military uniform.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Content Description"],"scopecontent_tesim":["The Floyd Pyles Collection contains personal papers, photographs, scrapbooks, correspondence, newspaper clippings, and awards belonging to Floyd Pyles, who worked for the Sun Sentinel and the Fort Lauderdale Daily News, eventually becoming Vice President of Gore Newspaper Company. Photographs depict the Pyles family, Fort Lauderdale, the 1926 hurricane, and Park Temple Methodist Church. The collection also includes the \"Pyles Prattle\" newsletter produced by Floyd Pyles.","The collection contains personal papers, photographs, scrapbooks, correspondence, newspaper clippings, and awards belonging to Floyd Pyles of Fort Lauderdale, Florida. Photographs depict the Pyles family, Fort Lauderdale, 1926 hurricane, and Park Temple Methodist Church. Collection also includes the \"Pyles Prattle\" newsletter produced by Floyd Pyles and his World War I military uniform."],"names_coll_ssim":["Park Temple Methodist Church (Fort Lauderdale, Fla.)","Pyles, Floyd W., 1894-1977"],"names_ssim":[" Broward County Historical Archives","Park Temple Methodist Church (Fort Lauderdale, Fla.)","Pyles, Floyd W., 1894-1977"],"corpname_ssim":[" Broward County Historical Archives","Park Temple Methodist Church (Fort Lauderdale, Fla.)"],"persname_ssim":["Pyles, Floyd W., 1894-1977"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":562,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1876457698070888448,"_root_":"0a50f2ac73656983163041b4","timestamp":"2026-09-16T03:31:52.468Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/0a50f2ac73656983163041b4_aspace_2e6d42dbecd7ddd216251455d56285ef"}},{"id":"763de249ff7d9b630424e493_aspace_c4f37d6c36d7cc88b92053341d41577d","type":"Item","attributes":{"title":"Woman holding parasol standing in front of house. Back reads: \"Mrs. Marie Oliphant, 417 So California C.B.P. 298... in [Pain?]. Photograph #1041., Undated","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_c4f37d6c36d7cc88b92053341d41577d#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eARL_202117_IMG_0337\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_c4f37d6c36d7cc88b92053341d41577d#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_c4f37d6c36d7cc88b92053341d41577d","ref_ssm":["aspace_c4f37d6c36d7cc88b92053341d41577d","aspace_c4f37d6c36d7cc88b92053341d41577d"],"id":"763de249ff7d9b630424e493_aspace_c4f37d6c36d7cc88b92053341d41577d","title_filing_ssi":"Woman holding parasol standing in front of house. Back reads: \"Mrs. Marie Oliphant, 417 So California C.B.P. 298... in [Pain?]. Photograph #1041.","title_ssm":["Woman holding parasol standing in front of house. Back reads: \"Mrs. Marie Oliphant, 417 So California C.B.P. 298... in [Pain?]. Photograph #1041."],"title_tesim":["Woman holding parasol standing in front of house. Back reads: \"Mrs. Marie Oliphant, 417 So California C.B.P. 298... in [Pain?]. Photograph #1041."],"unitdate_inclusive_ssm":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman holding parasol standing in front of house. Back reads: \"Mrs. Marie Oliphant, 417 So California C.B.P. 298... in [Pain?]. Photograph #1041., Undated"],"text":["Woman holding parasol standing in front of house. Back reads: \"Mrs. Marie Oliphant, 417 So California C.B.P. 298... in [Pain?]. Photograph #1041., Undated","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Women","/repositories/2/archival_objects/4912","box 8","ARL_202117_IMG_0337"],"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/4912"],"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":341,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"containers_ssim":["box 8"],"scopecontent_html_tesm":["\u003cp\u003eARL_202117_IMG_0337\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["ARL_202117_IMG_0337"],"_nest_path_":"/components#0/components#339","_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_c4f37d6c36d7cc88b92053341d41577d"}},{"id":"fc77c151bd530850a228250d_aspace_64464","type":"Item","attributes":{"title":"Woman holding rifle, n.d.","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/fc77c151bd530850a228250d_aspace_64464#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_64464","ref_ssm":["aspace_64464","aspace_64464"],"id":"fc77c151bd530850a228250d_aspace_64464","title_filing_ssi":"Woman holding rifle","title_ssm":["Woman holding rifle"],"title_tesim":["Woman holding rifle"],"unitdate_other_ssim":["n.d."],"normalized_date_ssm":["n.d."],"normalized_title_ssm":["Woman holding rifle, n.d."],"text":["Woman holding rifle, n.d.","FAU University Sports Clubs Photographs Collection, 1970-1980","Sports Clubs 1970s","Item 6","/repositories/2/archival_objects/42953","2 1/4x2 1/4 BW Photograph","box 1"],"component_level_isim":[2],"parent_ids_ssim":["fc77c151bd530850a228250d","fc77c151bd530850a228250d_aspace_64457"],"parent_unittitles_ssm":["FAU University Sports Clubs Photographs Collection, 1970-1980","Sports Clubs 1970s"],"parent_unittitles_tesim":["FAU University Sports Clubs Photographs Collection, 1970-1980","Sports Clubs 1970s"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["Item 6","/repositories/2/archival_objects/42953"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["FAU University Sports Clubs Photographs Collection, 1970-1980"],"physdesc_tesim":["2 1/4x2 1/4 BW Photograph"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":7,"parent_access_restrict_tesm":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"parent_access_terms_tesm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"containers_ssim":["box 1"],"_nest_path_":"/components#0/components#5","_nest_parent_":"fc77c151bd530850a228250d_aspace_64457","_root_":"fc77c151bd530850a228250d","timestamp":"2026-07-09T01:54:39.841Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"fc77c151bd530850a228250d","title_ssm":["FAU University Sports Clubs Photographs Collection"],"title_tesim":["FAU University Sports Clubs Photographs Collection"],"ead_ssi":"fc77c151bd530850a228250d","unitdate_ssm":["1970-1980"],"unitdate_inclusive_ssm":["1970-1980"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UAP00024","/repositories/2/resources/125"],"text":["UAP00024","/repositories/2/resources/125","FAU University Sports Clubs Photographs Collection, 1970-1980","University Archives -- Photography ","University Archives","Florida Atlantic University -- History","Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","In 2013, Sarah Brown and Victoria Thur processed the collection.","http://purl.fcla.edu/fau/teamphotos","Photographs of FAU's Club Sports","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections .","Florida Atlantic University Libraries","English"],"unitid_tesim":["UAP00024","/repositories/2/resources/125"],"normalized_date_ssm":["1970-1980"],"normalized_title_ssm":["FAU University Sports Clubs Photographs Collection, 1970-1980"],"collection_title_tesim":["FAU University Sports Clubs Photographs Collection, 1970-1980"],"collection_ssim":["FAU University Sports Clubs Photographs Collection, 1970-1980"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"access_terms_ssm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"access_subjects_ssim":["University Archives -- Photography ","University Archives","Florida Atlantic University -- History"],"access_subjects_ssm":["University Archives -- Photography ","University Archives","Florida Atlantic University -- History"],"has_online_content_ssim":["false"],"extent_ssm":["1.00 boxes","3 5x7 BW Photograph, 1 8x10 BW Photographs,  34 21/4 B\u0026W prints on contact sheets, 6 4x5 Color Photographs other_unmapped"],"extent_tesim":["1.00 boxes","3 5x7 BW Photograph, 1 8x10 BW Photographs,  34 21/4 B\u0026W prints on contact sheets, 6 4x5 Color Photographs other_unmapped"],"date_range_isim":[1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.\u003c/p\u003e\n","\u003cp\u003ePhotocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida."],"processinfo_html_tesm":["\u003cp\u003eIn 2013, Sarah Brown and Victoria Thur processed the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2013, Sarah Brown and Victoria Thur processed the collection."],"relatedmaterial_html_tesm":["\u003cp\u003ehttp://purl.fcla.edu/fau/teamphotos\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["http://purl.fcla.edu/fau/teamphotos"],"scopecontent_html_tesm":["\u003cp\u003ePhotographs of FAU's Club Sports\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Photographs of FAU's Club Sports"],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.\u003c/p\u003e\n","\u003cp\u003eWhen using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.\u003c/p\u003e\n","\u003cp\u003eShould the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact \u003ca href=\"mailto:lysca@fau.edu\"\u003eSpecial Collections\u003c/a\u003e.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"names_ssim":["Florida Atlantic University Libraries"],"corpname_ssim":["Florida Atlantic University Libraries"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"fc77c151bd530850a228250d","timestamp":"2026-07-09T01:54:39.841Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/fc77c151bd530850a228250d_aspace_64464"}},{"id":"18ce43a3c782b797db9fa781_aspace_178744","type":"Item","attributes":{"title":"[Woman holding stick]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178744#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178744#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_178744","ref_ssm":["aspace_178744","aspace_178744"],"id":"18ce43a3c782b797db9fa781_aspace_178744","title_filing_ssi":"[Woman holding stick]","title_ssm":["[Woman holding stick]"],"title_tesim":["[Woman holding stick]"],"normalized_title_ssm":["[Woman holding stick]"],"text":["[Woman holding stick]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Fenns","Item 37","/repositories/2/archival_objects/83201","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179888","18ce43a3c782b797db9fa781_aspace_178699"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Fenns"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Fenns"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 37","/repositories/2/archival_objects/83201"],"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":1979,"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\u003eBlack and white photograph.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Black and white photograph."],"_nest_path_":"/components#30/components#1/components#36","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_178699","_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_178744"}},{"id":"9fbdbff688388dbc4784612e_aspace_73760","type":"Item","attributes":{"title":"Woman holding upset child while man stares at camera, 1977","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/9fbdbff688388dbc4784612e_aspace_73760#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_73760","ref_ssm":["aspace_73760","aspace_73760"],"id":"9fbdbff688388dbc4784612e_aspace_73760","title_filing_ssi":"Woman holding upset child while man stares at camera","title_ssm":["Woman holding upset child while man stares at camera"],"title_tesim":["Woman holding upset child while man stares at camera"],"unitdate_other_ssim":["1977"],"normalized_date_ssm":["1977"],"normalized_title_ssm":["Woman holding upset child while man stares at camera, 1977"],"text":["Woman holding upset child while man stares at camera, 1977","Michael Berman Florida Women's Conference Photographs, 1977","Photographs, 1977.","Item 15","/repositories/4/archival_objects/8977","box 1","folder 1"],"component_level_isim":[2],"parent_ids_ssim":["9fbdbff688388dbc4784612e","9fbdbff688388dbc4784612e_aspace_73743"],"parent_unittitles_ssm":["Michael Berman Florida Women's Conference Photographs, 1977","Photographs, 1977."],"parent_unittitles_tesim":["Michael Berman Florida Women's Conference Photographs, 1977","Photographs, 1977."],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["Item 15","/repositories/4/archival_objects/8977"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Michael Berman Florida Women's Conference Photographs, 1977"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":16,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"containers_ssim":["box 1","folder 1"],"_nest_path_":"/components#0/components#14","_nest_parent_":"9fbdbff688388dbc4784612e_aspace_73743","_root_":"9fbdbff688388dbc4784612e","_version_":1870857954961391616,"timestamp":"2026-07-16T08:06:21.290Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"9fbdbff688388dbc4784612e","title_ssm":["Michael Berman Florida Women's Conference Photographs"],"title_tesim":["Michael Berman Florida Women's Conference Photographs"],"ead_ssi":"9fbdbff688388dbc4784612e","unitdate_ssm":["1977"],"unitdate_other_ssim":["1977"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.106","/repositories/4/resources/49"],"text":["SC.106","/repositories/4/resources/49","Michael Berman Florida Women's Conference Photographs, 1977","Florida","United States -- Politics and government","Berman, Michael","Equal Rights Amendments","Florida -- Orlando","Women -- Florida","Sex Discrimination Against Florida -- Florida -- Orlando","Florida Technological University--Faculty--Photographs","photographs","The entire collection is open for research.","This collection is arranged into one series with the pictures organized in a numbered order in that which it was received.","Michael J. Berman attended Nova High School in Ft. Lauderdale, and graduated from Vanguard High School in Ocala, before studying at Florida Technological University (FTU), now University of Central Florida, in Orlando, Florida.\nMichael Berman received his B.S. in Physics from FTU in 1975 and a B.A. in Theatre in 1976. During his time at FTU and afterward, he was very active in photography, taking photographs for the University theatre department and the campus newspaper, as both a photographer and a photo editor. He also produced the first Holograms on campus.\nAfter the completion of his studies at FTU, Michael began a successful career as an individual contributor and engineering manager in semiconductor manufacturing at different companies, including AMD in Silicon Valley and LSI Logic in Portland. While at the latter, he was named the Inventor of the Year in 2002 and Outstanding Patent Liaison of the Year in 2003. He also completed five major fab start-ups in the United States and Southeast Asia. During his time in the private sector, he published over a dozen papers and was granted over 50 US patents. In 2004 he joined the Micro/Nano Fabrication Center of University of Arizona, where he has been a nanotechnologist and chairman for 12 years. In 2009, he also joined Tempronics as the Director of Manufacturing. He retired in May 2016.","Note written by ","Collection processed by and finding aid prepared by Kyle West in 2018. Photographs were removed from cardboard backing with numbers on cardboard transferred onto the back of photographs then were placed into archival quality sleeves, which were then put into an acid-free folder in acid-free box.","For more information on special collections, please see our  website .","Series I: Photographs, 1977, contains 21 black and white photographs, approximately 11 x 14 inches. Each photograph except the last had been numbered in an order.","Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.","This collection contains 21 photographs taken by Michael Berman that pertain to the Florida Women's Conference of 1977. The first Florida Women'’s Conference was held in July of the 15th, 16th, and 17th. It was run by forty Florida women selected by Jimmy Carter in order to help deal with the rift between those for Equal Rights Amendment and those against it.","UCF Special Collections","History","Berman, Michael","English"],"unitid_tesim":["SC.106","/repositories/4/resources/49"],"normalized_date_ssm":["1977"],"normalized_title_ssm":["Michael Berman Florida Women's Conference Photographs, 1977"],"collection_title_tesim":["Michael Berman Florida Women's Conference Photographs, 1977"],"collection_ssim":["Michael Berman Florida Women's Conference Photographs, 1977"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida","United States -- Politics and government"],"geogname_ssim":["Florida","United States -- Politics and government"],"creator_ssm":["Berman, Michael"],"creator_ssim":["Berman, Michael"],"creator_persname_ssim":["Berman, Michael"],"creators_ssim":["Berman, Michael"],"places_ssim":["Florida","United States -- Politics and government"],"access_terms_ssm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["Michael Berman donated these materials to the University of Central Florida Libraries, Special Collections and University Archives in 2016 (CFM2016_13)."],"access_subjects_ssim":["Berman, Michael","Equal Rights Amendments","Florida -- Orlando","Women -- Florida","Sex Discrimination Against Florida -- Florida -- Orlando","Florida Technological University--Faculty--Photographs","photographs"],"access_subjects_ssm":["Berman, Michael","Equal Rights Amendments","Florida -- Orlando","Women -- Florida","Sex Discrimination Against Florida -- Florida -- Orlando","Florida Technological University--Faculty--Photographs","photographs"],"has_online_content_ssim":["false"],"extent_ssm":["0.25 Linear Feet 1 Box"],"extent_tesim":["0.25 Linear Feet 1 Box"],"genreform_ssim":["photographs"],"date_range_isim":[1977],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into one series with the pictures organized in a numbered order in that which it was received.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["This collection is arranged into one series with the pictures organized in a numbered order in that which it was received."],"bioghist_html_tesm":["\u003cp\u003eMichael J. Berman attended Nova High School in Ft. Lauderdale, and graduated from Vanguard High School in Ocala, before studying at Florida Technological University (FTU), now University of Central Florida, in Orlando, Florida.\nMichael Berman received his B.S. in Physics from FTU in 1975 and a B.A. in Theatre in 1976. During his time at FTU and afterward, he was very active in photography, taking photographs for the University theatre department and the campus newspaper, as both a photographer and a photo editor. He also produced the first Holograms on campus.\nAfter the completion of his studies at FTU, Michael began a successful career as an individual contributor and engineering manager in semiconductor manufacturing at different companies, including AMD in Silicon Valley and LSI Logic in Portland. While at the latter, he was named the Inventor of the Year in 2002 and Outstanding Patent Liaison of the Year in 2003. He also completed five major fab start-ups in the United States and Southeast Asia. During his time in the private sector, he published over a dozen papers and was granted over 50 US patents. In 2004 he joined the Micro/Nano Fabrication Center of University of Arizona, where he has been a nanotechnologist and chairman for 12 years. In 2009, he also joined Tempronics as the Director of Manufacturing. He retired in May 2016.\u003c/p\u003e\n","\u003cp\u003eNote written by \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Michael J. Berman attended Nova High School in Ft. Lauderdale, and graduated from Vanguard High School in Ocala, before studying at Florida Technological University (FTU), now University of Central Florida, in Orlando, Florida.\nMichael Berman received his B.S. in Physics from FTU in 1975 and a B.A. in Theatre in 1976. During his time at FTU and afterward, he was very active in photography, taking photographs for the University theatre department and the campus newspaper, as both a photographer and a photo editor. He also produced the first Holograms on campus.\nAfter the completion of his studies at FTU, Michael began a successful career as an individual contributor and engineering manager in semiconductor manufacturing at different companies, including AMD in Silicon Valley and LSI Logic in Portland. While at the latter, he was named the Inventor of the Year in 2002 and Outstanding Patent Liaison of the Year in 2003. He also completed five major fab start-ups in the United States and Southeast Asia. During his time in the private sector, he published over a dozen papers and was granted over 50 US patents. In 2004 he joined the Micro/Nano Fabrication Center of University of Arizona, where he has been a nanotechnologist and chairman for 12 years. In 2009, he also joined Tempronics as the Director of Manufacturing. He retired in May 2016.","Note written by "],"prefercite_html_tesm":["\u003cp\u003eMichael Berman Florida Women\u0026#x92;'s Conference Photographs, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Michael Berman Florida Women’'s Conference Photographs, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by and finding aid prepared by Kyle West in 2018. Photographs were removed from cardboard backing with numbers on cardboard transferred onto the back of photographs then were placed into archival quality sleeves, which were then put into an acid-free folder in acid-free box.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by and finding aid prepared by Kyle West in 2018. Photographs were removed from cardboard backing with numbers on cardboard transferred onto the back of photographs then were placed into archival quality sleeves, which were then put into an acid-free folder in acid-free box."],"relatedmaterial_html_tesm":["\u003cp\u003eFor more information on special collections, please see our \u003cextref href=\"https://library.ucf.edu/about/departments/special-collections-university-archives/\"\u003ewebsite\u003c/extref\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["For more information on special collections, please see our  website ."],"scopecontent_html_tesm":["\u003cp\u003eSeries I: Photographs, 1977, contains 21 black and white photographs, approximately 11 x 14 inches. Each photograph except the last had been numbered in an order.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Series I: Photographs, 1977, contains 21 black and white photographs, approximately 11 x 14 inches. Each photograph except the last had been numbered in an order."],"userestrict_html_tesm":["\u003cp\u003eUnpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1b41c3a7a2e6dcd7f7ffa4bcddf904b2\" label=\"Abstract\"\u003eThis collection contains 21 photographs taken by Michael Berman that pertain to the Florida Women's Conference of 1977. The first Florida Women'\u0026#x92;s Conference was held in July of the 15th, 16th, and 17th. It was run by forty Florida women selected by Jimmy Carter in order to help deal with the rift between those for Equal Rights Amendment and those against it.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains 21 photographs taken by Michael Berman that pertain to the Florida Women's Conference of 1977. The first Florida Women'’s Conference was held in July of the 15th, 16th, and 17th. It was run by forty Florida women selected by Jimmy Carter in order to help deal with the rift between those for Equal Rights Amendment and those against it."],"names_coll_ssim":["History"],"names_ssim":["UCF Special Collections","History","Berman, Michael"],"corpname_ssim":["UCF Special Collections","History"],"persname_ssim":["Berman, Michael"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":22,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857954961391616,"_root_":"9fbdbff688388dbc4784612e","timestamp":"2026-07-16T08:06:21.290Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/9fbdbff688388dbc4784612e_aspace_73760"}},{"id":"53f642d51ae3f1367537126d_aspace_343a613f7dc8fba39f31a4598ac959a3","type":"Item","attributes":{"title":"Woman Holds Pitch Fork","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/53f642d51ae3f1367537126d_aspace_343a613f7dc8fba39f31a4598ac959a3#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eA woman stands on the beach in front of an Australian Pine tree holding a pitch fork and dip net\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/53f642d51ae3f1367537126d_aspace_343a613f7dc8fba39f31a4598ac959a3#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_343a613f7dc8fba39f31a4598ac959a3","ref_ssm":["aspace_343a613f7dc8fba39f31a4598ac959a3","aspace_343a613f7dc8fba39f31a4598ac959a3"],"id":"53f642d51ae3f1367537126d_aspace_343a613f7dc8fba39f31a4598ac959a3","title_filing_ssi":"Woman Holds Pitch Fork","title_ssm":["Woman Holds Pitch Fork"],"title_tesim":["Woman Holds Pitch Fork"],"normalized_title_ssm":["Woman Holds Pitch Fork"],"text":["Woman Holds Pitch Fork","Sanibel Island Collection, 1574-1998","/repositories/2/archival_objects/48603","Sanibel (Fla.)","Captiva Island (Fla.)","A woman stands on the beach in front of an Australian Pine tree holding a pitch fork and dip net"],"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/48603"],"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":208,"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\u003eA woman stands on the beach in front of an Australian Pine tree holding a pitch fork and dip net\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["A woman stands on the beach in front of an Australian Pine tree holding a pitch fork and dip net"],"_nest_path_":"/components#207","_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. All materials in this collection are prior to the damage caused by Hurricane Ian in 2022.","Florida Gulf Coast University Special Collections","English"],"unitid_tesim":["2019.SC.10","/repositories/2/resources/104"],"normalized_date_ssm":["1574-1998"],"normalized_title_ssm":["Sanibel Island Collection, 1574-1998"],"collection_title_tesim":["Sanibel Island Collection, 1574-1998"],"collection_ssim":["Sanibel Island Collection, 1574-1998"],"repository_ssm":["Florida Gulf Coast University Special Collections"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"has_online_content_ssim":["false"],"extent_ssm":["649 Megabytes"],"extent_tesim":["649 Megabytes"],"date_range_isim":[1574,1575,1576,1577,1578,1579,1580,1581,1582,1583,1584,1585,1586,1587,1588,1589,1590,1591,1592,1593,1594,1595,1596,1597,1598,1599,1600,1601,1602,1603,1604,1605,1606,1607,1608,1609,1610,1611,1612,1613,1614,1615,1616,1617,1618,1619,1620,1621,1622,1623,1624,1625,1626,1627,1628,1629,1630,1631,1632,1633,1634,1635,1636,1637,1638,1639,1640,1641,1642,1643,1644,1645,1646,1647,1648,1649,1650,1651,1652,1653,1654,1655,1656,1657,1658,1659,1660,1661,1662,1663,1664,1665,1666,1667,1668,1669,1670,1671,1672,1673,1674,1675,1676,1677,1678,1679,1680,1681,1682,1683,1684,1685,1686,1687,1688,1689,1690,1691,1692,1693,1694,1695,1696,1697,1698,1699,1700,1701,1702,1703,1704,1705,1706,1707,1708,1709,1710,1711,1712,1713,1714,1715,1716,1717,1718,1719,1720,1721,1722,1723,1724,1725,1726,1727,1728,1729,1730,1731,1732,1733,1734,1735,1736,1737,1738,1739,1740,1741,1742,1743,1744,1745,1746,1747,1748,1749,1750,1751,1752,1753,1754,1755,1756,1757,1758,1759,1760,1761,1762,1763,1764,1765,1766,1767,1768,1769,1770,1771,1772,1773,1774,1775,1776,1777,1778,1779,1780,1781,1782,1783,1784,1785,1786,1787,1788,1789,1790,1791,1792,1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eSanibel 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.\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_343a613f7dc8fba39f31a4598ac959a3"}},{"id":"f70dba2e4db85b9be660d412_aspace_168044","type":"Item","attributes":{"title":"Womanhunt","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/f70dba2e4db85b9be660d412_aspace_168044#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eItems available: 1 press release\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f70dba2e4db85b9be660d412_aspace_168044#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_168044","ref_ssm":["aspace_168044","aspace_168044"],"id":"f70dba2e4db85b9be660d412_aspace_168044","title_filing_ssi":"Womanhunt","title_ssm":["Womanhunt"],"title_tesim":["Womanhunt"],"normalized_title_ssm":["Womanhunt"],"text":["Womanhunt","Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","20th Century Fox","Item TCF 275","/repositories/10/archival_objects/64394","Items available: 1 press release"],"component_level_isim":[2],"parent_ids_ssim":["f70dba2e4db85b9be660d412","f70dba2e4db85b9be660d412_aspace_167769"],"parent_unittitles_ssm":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","20th Century Fox"],"parent_unittitles_tesim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","20th Century Fox"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["Item TCF 275","/repositories/10/archival_objects/64394"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1779,"parent_access_restrict_tesm":["This collection is open to all researchers. ","Portions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Boxes 2-5 and 8 may be accessed at the Claude Pepper Library."],"parent_access_terms_tesm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"scopecontent_html_tesm":["\u003cp\u003eItems available: 1 press release\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Items available: 1 press release"],"_nest_path_":"/components#12/components#274","_nest_parent_":"f70dba2e4db85b9be660d412_aspace_167769","_root_":"f70dba2e4db85b9be660d412","timestamp":"2026-04-21T12:50:36.292Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f70dba2e4db85b9be660d412","title_ssm":["Cinema Promotional Materials"],"title_tesim":["Cinema Promotional Materials"],"ead_ssi":"f70dba2e4db85b9be660d412","unitdate_ssm":["1957-1976","Date acquired: 08/01/1976"],"unitdate_inclusive_ssm":["1957-1976"],"unitdate_other_ssim":["Date acquired: 08/01/1976"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 76-18","/repositories/10/resources/599"],"text":["MSS 76-18","/repositories/10/resources/599","Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","Motion pictures--United States--Distribution","Motion picture industry--United States.","Promotional materials","Television advertising -- United States","Radio advertising -- United States","Advertising--Motion pictures","Motion pictures.","This collection is open to all researchers. ","Portions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Boxes 2-5 and 8 may be accessed at the Claude Pepper Library.","The larger studios materials are listed as series with all titles in alphabetical order. The movies of the smaller studios are listed in the miscellaneous series in alphabetical order by movie title. With the titles, what materials (press book, record, tapes) are available are listed.","Processed November, 1977.","This collection contains cinema promotional materials in various formats, including press books, 33 1/3 and 45 records, cassette tapes of radio commercials and video tapes.\n Each press book contains advertising material for the promotion of a particular film such as stories about the stars or production of the movie, actual layouts of various sizes, campaign plans, and related information. In size, the press books vary from a single page or sheet to a booklet of a dozen or more pages. Some contain various enclosures such as pictures and additional ad sheets.\n The records consist of 33 1/3's and 45's which may contain several radio commercials of various lengths.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","FSU Special Collections \u0026 Archives","English"],"unitid_tesim":["MSS 76-18","/repositories/10/resources/599"],"normalized_date_ssm":["1957-1976, Date acquired: 08/01/1976"],"normalized_title_ssm":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"collection_title_tesim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"collection_ssim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["Gift of Mr. Leslie W. Pendleton, District Supervisor, Kent Theatres, Inc.","Received August 1976 through the efforts of Dr. Ungurait."],"access_subjects_ssim":["Motion pictures--United States--Distribution","Motion picture industry--United States.","Promotional materials","Television advertising -- United States","Radio advertising -- United States","Advertising--Motion pictures","Motion pictures."],"access_subjects_ssm":["Motion pictures--United States--Distribution","Motion picture industry--United States.","Promotional materials","Television advertising -- United States","Radio advertising -- United States","Advertising--Motion pictures","Motion pictures."],"has_online_content_ssim":["false"],"extent_ssm":["5521.00 items"],"extent_tesim":["5521.00 items"],"genreform_ssim":["Motion pictures."],"date_range_isim":[1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003ePortions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e\n","\u003cp\u003eBoxes 2-5 and 8 may be accessed at the Claude Pepper Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","Portions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Boxes 2-5 and 8 may be accessed at the Claude Pepper Library."],"arrangement_html_tesm":["\u003cp\u003eThe larger studios materials are listed as series with all titles in alphabetical order. The movies of the smaller studios are listed in the miscellaneous series in alphabetical order by movie title. With the titles, what materials (press book, record, tapes) are available are listed.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The larger studios materials are listed as series with all titles in alphabetical order. The movies of the smaller studios are listed in the miscellaneous series in alphabetical order by movie title. 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