{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64891\u0026view=list","prev":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64890\u0026view=list","next":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64892\u0026view=list","last":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65767\u0026view=list"},"meta":{"pages":{"current_page":64891,"next_page":64892,"prev_page":64890,"total_pages":65767,"limit_value":10,"offset_value":648900,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"763de249ff7d9b630424e493_aspace_2f2bcaf4bc24d5d4ed0b1f83b060eacc","type":"Item","attributes":{"title":"Woman in semi-profile headshot. Front of photograph reads: Pasha [Paine?]. Item #421., Undated","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_2f2bcaf4bc24d5d4ed0b1f83b060eacc#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eDigital Archives Identifier: ARL_202117_IMG_0088\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_2f2bcaf4bc24d5d4ed0b1f83b060eacc#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_2f2bcaf4bc24d5d4ed0b1f83b060eacc","ref_ssm":["aspace_2f2bcaf4bc24d5d4ed0b1f83b060eacc","aspace_2f2bcaf4bc24d5d4ed0b1f83b060eacc"],"id":"763de249ff7d9b630424e493_aspace_2f2bcaf4bc24d5d4ed0b1f83b060eacc","title_filing_ssi":"Woman in semi-profile headshot. Front of photograph reads: Pasha [Paine?]. Item #421.","title_ssm":["Woman in semi-profile headshot. Front of photograph reads: Pasha [Paine?]. Item #421."],"title_tesim":["Woman in semi-profile headshot. Front of photograph reads: Pasha [Paine?]. Item #421."],"unitdate_inclusive_ssm":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman in semi-profile headshot. Front of photograph reads: Pasha [Paine?]. Item #421., Undated"],"text":["Woman in semi-profile headshot. Front of photograph reads: Pasha [Paine?]. Item #421., Undated","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Women","/repositories/2/archival_objects/4444","box 3","Digital Archives Identifier: ARL_202117_IMG_0088"],"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/4444"],"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":88,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"containers_ssim":["box 3"],"scopecontent_html_tesm":["\u003cp\u003eDigital Archives Identifier: ARL_202117_IMG_0088\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Digital Archives Identifier: ARL_202117_IMG_0088"],"_nest_path_":"/components#0/components#86","_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_2f2bcaf4bc24d5d4ed0b1f83b060eacc"}},{"id":"763de249ff7d9b630424e493_aspace_c56a5de66342ae64a6ea058c23ef04b4","type":"Item","attributes":{"title":"Woman in striped dress. Inscription reads \"Dixie Lee Bryant, Columbia, Tennessee\" G. Walden Smith, 145 Tremant Street, Boston, Massachusetts. Cabinet card #194, Undated","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_c56a5de66342ae64a6ea058c23ef04b4#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eDigital Archives Identifier: ARL_202117_IMG_0019\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_c56a5de66342ae64a6ea058c23ef04b4#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_c56a5de66342ae64a6ea058c23ef04b4","ref_ssm":["aspace_c56a5de66342ae64a6ea058c23ef04b4","aspace_c56a5de66342ae64a6ea058c23ef04b4"],"id":"763de249ff7d9b630424e493_aspace_c56a5de66342ae64a6ea058c23ef04b4","title_filing_ssi":"Woman in striped dress. Inscription reads \"Dixie Lee Bryant, Columbia, Tennessee\" G. Walden Smith, 145 Tremant Street, Boston, Massachusetts. Cabinet card #194","title_ssm":["Woman in striped dress. Inscription reads \"Dixie Lee Bryant, Columbia, Tennessee\" G. Walden Smith, 145 Tremant Street, Boston, Massachusetts. Cabinet card #194"],"title_tesim":["Woman in striped dress. Inscription reads \"Dixie Lee Bryant, Columbia, Tennessee\" G. Walden Smith, 145 Tremant Street, Boston, Massachusetts. Cabinet card #194"],"unitdate_inclusive_ssm":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman in striped dress. Inscription reads \"Dixie Lee Bryant, Columbia, Tennessee\" G. Walden Smith, 145 Tremant Street, Boston, Massachusetts. Cabinet card #194, Undated"],"text":["Woman in striped dress. Inscription reads \"Dixie Lee Bryant, Columbia, Tennessee\" G. Walden Smith, 145 Tremant Street, Boston, Massachusetts. Cabinet card #194, Undated","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Women","/repositories/2/archival_objects/4325","box 1","Digital Archives Identifier: ARL_202117_IMG_0019"],"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/4325"],"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":20,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"containers_ssim":["box 1"],"scopecontent_html_tesm":["\u003cp\u003eDigital Archives Identifier: ARL_202117_IMG_0019\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Digital Archives Identifier: ARL_202117_IMG_0019"],"_nest_path_":"/components#0/components#18","_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_c56a5de66342ae64a6ea058c23ef04b4"}},{"id":"494d175c32d55745f7fddbc7_aspace_4365","type":"Item","attributes":{"title":"Woman in white on porch steps, Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/494d175c32d55745f7fddbc7_aspace_4365#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_4365","ref_ssm":["aspace_4365","aspace_4365"],"id":"494d175c32d55745f7fddbc7_aspace_4365","title_filing_ssi":"Woman in white on porch steps","title_ssm":["Woman in white on porch steps"],"title_tesim":["Woman in white on porch steps"],"unitdate_other_ssim":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman in white on porch steps, Undated"],"text":["Woman in white on porch steps, Undated","Florida Image Collection, 1884-2002","People, 1913-1987, Undated","Roper Family Album, (described according to location in album), Undated","Folder 3","/repositories/4/archival_objects/12096","box 1","folder 3"],"component_level_isim":[3],"parent_ids_ssim":["494d175c32d55745f7fddbc7","494d175c32d55745f7fddbc7_aspace_4299","494d175c32d55745f7fddbc7_aspace_4323"],"parent_unittitles_ssm":["Florida Image Collection, 1884-2002","People, 1913-1987, Undated","Roper Family Album, (described according to location in album), Undated"],"parent_unittitles_tesim":["Florida Image Collection, 1884-2002","People, 1913-1987, Undated","Roper Family Album, (described according to location in album), Undated"],"parent_levels_ssm":["collection","Series","File"],"unitid_ssm":["Folder 3","/repositories/4/archival_objects/12096"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Florida Image Collection, 1884-2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":64,"parent_access_restrict_tesm":["The entire collection is open for research."],"containers_ssim":["box 1","folder 3"],"_nest_path_":"/components#0/components#2/components#41","_nest_parent_":"494d175c32d55745f7fddbc7_aspace_4323","_root_":"494d175c32d55745f7fddbc7","_version_":1870858026892656640,"timestamp":"2026-07-16T08:07:29.876Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"494d175c32d55745f7fddbc7","title_ssm":["Florida Image Collection"],"title_tesim":["Florida Image Collection"],"ead_ssi":"494d175c32d55745f7fddbc7","unitdate_ssm":["1884-2002"],"unitdate_inclusive_ssm":["1884-2002"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.067","/repositories/4/resources/58"],"text":["SC.067","/repositories/4/resources/58","Florida Image Collection, 1884-2002","Florida","photographs","The entire collection is open for research.","The Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection.","Many of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives.","Collection processed by Alexandra Olson; finding aid created by Alexandra Olson.","The photographs and postcards were sleeved and placed in acid-free folders and boxes.","More photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room.","Generally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject","\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.","\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.","\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.","\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.","\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.","\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.","\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.","\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.","\nSeries IX: Negatives, Undated contains all the negatives of the collection.","The images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960.","UCF Special Collections","Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998","English"],"unitid_tesim":["SC.067","/repositories/4/resources/58"],"normalized_date_ssm":["1884-2002"],"normalized_title_ssm":["Florida Image Collection, 1884-2002"],"collection_title_tesim":["Florida Image Collection, 1884-2002"],"collection_ssim":["Florida Image Collection, 1884-2002"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida"],"geogname_ssim":["Florida"],"creator_ssm":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creator_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creator_persname_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creators_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"places_ssim":["Florida"],"acqinfo_ssim":["Photographs used in the collection were taken from the Thomas and Georgine Mickler Collection, the UCF Libraries, Special Collections vertical file,as well as, other purchases and acessions.","This collection was a mixture of purchased and donated from the Mickler Estate and other sources in 2006 (CFM2006_08)."],"access_subjects_ssim":["photographs"],"access_subjects_ssm":["photographs"],"has_online_content_ssim":["false"],"extent_ssm":["1.65 Linear Feet 4 Boxes, 1 Flat File"],"extent_tesim":["1.65 Linear Feet 4 Boxes, 1 Flat File"],"genreform_ssim":["photographs"],"date_range_isim":[1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002],"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."],"bioghist_html_tesm":["\u003cp\u003eThe Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection."],"custodhist_html_tesm":["\u003cp\u003eMany of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Many of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives."],"prefercite_html_tesm":["\u003cp\u003eFlorida Image Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Florida Image Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Alexandra Olson; finding aid created by Alexandra Olson.\u003c/p\u003e","\u003cp\u003eThe photographs and postcards were sleeved and placed in acid-free folders and boxes.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Alexandra Olson; finding aid created by Alexandra Olson.","The photographs and postcards were sleeved and placed in acid-free folders and boxes."],"relatedmaterial_html_tesm":["\u003cp\u003eMore photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["More photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room."],"scopecontent_html_tesm":["\u003cp\u003eGenerally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject\u003c/p\u003e\n","\u003cp\u003e\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.\u003c/p\u003e\n","\u003cp\u003e\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.\u003c/p\u003e\n","\u003cp\u003e\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.\u003c/p\u003e\n","\u003cp\u003e\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.\u003c/p\u003e\n","\u003cp\u003e\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.\u003c/p\u003e\n","\u003cp\u003e\nSeries IX: Negatives, Undated contains all the negatives of the collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Generally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject","\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.","\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.","\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.","\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.","\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.","\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.","\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.","\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.","\nSeries IX: Negatives, Undated contains all the negatives of the collection."],"abstract_html_tesm":["\u003cabstract id=\"aspace_c1764512ad44520b697525a0abb48530\" label=\"Abstract\"\u003eThe images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960.\u003c/abstract\u003e"],"abstract_tesim":["The images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960."],"names_ssim":["UCF Special Collections","Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"corpname_ssim":["UCF Special Collections"],"persname_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1301,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870858026892656640,"_root_":"494d175c32d55745f7fddbc7","timestamp":"2026-07-16T08:07:29.876Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/494d175c32d55745f7fddbc7_aspace_4365"}},{"id":"494d175c32d55745f7fddbc7_aspace_4382","type":"Item","attributes":{"title":"Woman in white with hat in hand, Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/494d175c32d55745f7fddbc7_aspace_4382#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_4382","ref_ssm":["aspace_4382","aspace_4382"],"id":"494d175c32d55745f7fddbc7_aspace_4382","title_filing_ssi":"Woman in white with hat in hand","title_ssm":["Woman in white with hat in hand"],"title_tesim":["Woman in white with hat in hand"],"unitdate_other_ssim":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman in white with hat in hand, Undated"],"text":["Woman in white with hat in hand, Undated","Florida Image Collection, 1884-2002","People, 1913-1987, Undated","Roper Family Album, (described according to location in album), Undated","Folder 3","/repositories/4/archival_objects/12421","box 1","folder 3"],"component_level_isim":[3],"parent_ids_ssim":["494d175c32d55745f7fddbc7","494d175c32d55745f7fddbc7_aspace_4299","494d175c32d55745f7fddbc7_aspace_4323"],"parent_unittitles_ssm":["Florida Image Collection, 1884-2002","People, 1913-1987, Undated","Roper Family Album, (described according to location in album), Undated"],"parent_unittitles_tesim":["Florida Image Collection, 1884-2002","People, 1913-1987, Undated","Roper Family Album, (described according to location in album), Undated"],"parent_levels_ssm":["collection","Series","File"],"unitid_ssm":["Folder 3","/repositories/4/archival_objects/12421"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Florida Image Collection, 1884-2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":81,"parent_access_restrict_tesm":["The entire collection is open for research."],"containers_ssim":["box 1","folder 3"],"_nest_path_":"/components#0/components#2/components#58","_nest_parent_":"494d175c32d55745f7fddbc7_aspace_4323","_root_":"494d175c32d55745f7fddbc7","_version_":1870858026892656640,"timestamp":"2026-07-16T08:07:29.876Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"494d175c32d55745f7fddbc7","title_ssm":["Florida Image Collection"],"title_tesim":["Florida Image Collection"],"ead_ssi":"494d175c32d55745f7fddbc7","unitdate_ssm":["1884-2002"],"unitdate_inclusive_ssm":["1884-2002"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.067","/repositories/4/resources/58"],"text":["SC.067","/repositories/4/resources/58","Florida Image Collection, 1884-2002","Florida","photographs","The entire collection is open for research.","The Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection.","Many of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives.","Collection processed by Alexandra Olson; finding aid created by Alexandra Olson.","The photographs and postcards were sleeved and placed in acid-free folders and boxes.","More photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room.","Generally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject","\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.","\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.","\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.","\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.","\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.","\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.","\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.","\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.","\nSeries IX: Negatives, Undated contains all the negatives of the collection.","The images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960.","UCF Special Collections","Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998","English"],"unitid_tesim":["SC.067","/repositories/4/resources/58"],"normalized_date_ssm":["1884-2002"],"normalized_title_ssm":["Florida Image Collection, 1884-2002"],"collection_title_tesim":["Florida Image Collection, 1884-2002"],"collection_ssim":["Florida Image Collection, 1884-2002"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida"],"geogname_ssim":["Florida"],"creator_ssm":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creator_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creator_persname_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creators_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"places_ssim":["Florida"],"acqinfo_ssim":["Photographs used in the collection were taken from the Thomas and Georgine Mickler Collection, the UCF Libraries, Special Collections vertical file,as well as, other purchases and acessions.","This collection was a mixture of purchased and donated from the Mickler Estate and other sources in 2006 (CFM2006_08)."],"access_subjects_ssim":["photographs"],"access_subjects_ssm":["photographs"],"has_online_content_ssim":["false"],"extent_ssm":["1.65 Linear Feet 4 Boxes, 1 Flat File"],"extent_tesim":["1.65 Linear Feet 4 Boxes, 1 Flat File"],"genreform_ssim":["photographs"],"date_range_isim":[1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002],"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."],"bioghist_html_tesm":["\u003cp\u003eThe Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection."],"custodhist_html_tesm":["\u003cp\u003eMany of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Many of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives."],"prefercite_html_tesm":["\u003cp\u003eFlorida Image Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Florida Image Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Alexandra Olson; finding aid created by Alexandra Olson.\u003c/p\u003e","\u003cp\u003eThe photographs and postcards were sleeved and placed in acid-free folders and boxes.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Alexandra Olson; finding aid created by Alexandra Olson.","The photographs and postcards were sleeved and placed in acid-free folders and boxes."],"relatedmaterial_html_tesm":["\u003cp\u003eMore photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["More photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room."],"scopecontent_html_tesm":["\u003cp\u003eGenerally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject\u003c/p\u003e\n","\u003cp\u003e\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.\u003c/p\u003e\n","\u003cp\u003e\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.\u003c/p\u003e\n","\u003cp\u003e\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.\u003c/p\u003e\n","\u003cp\u003e\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.\u003c/p\u003e\n","\u003cp\u003e\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.\u003c/p\u003e\n","\u003cp\u003e\nSeries IX: Negatives, Undated contains all the negatives of the collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Generally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject","\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.","\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.","\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.","\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.","\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.","\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.","\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.","\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.","\nSeries IX: Negatives, Undated contains all the negatives of the collection."],"abstract_html_tesm":["\u003cabstract id=\"aspace_c1764512ad44520b697525a0abb48530\" label=\"Abstract\"\u003eThe images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960.\u003c/abstract\u003e"],"abstract_tesim":["The images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960."],"names_ssim":["UCF Special Collections","Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"corpname_ssim":["UCF Special Collections"],"persname_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1301,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870858026892656640,"_root_":"494d175c32d55745f7fddbc7","timestamp":"2026-07-16T08:07:29.876Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/494d175c32d55745f7fddbc7_aspace_4382"}},{"id":"18ce43a3c782b797db9fa781_aspace_179112","type":"Item","attributes":{"title":"[Woman in woods]","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179112#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179112","ref_ssm":["aspace_179112","aspace_179112"],"id":"18ce43a3c782b797db9fa781_aspace_179112","title_filing_ssi":"[Woman in woods]","title_ssm":["[Woman in woods]"],"title_tesim":["[Woman in woods]"],"normalized_title_ssm":["[Woman in woods]"],"text":["[Woman in woods]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Maine [Fenn Family], 1903","Item 1","/repositories/2/archival_objects/81871"],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179852","18ce43a3c782b797db9fa781_aspace_179111"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Maine [Fenn Family], 1903"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Maine [Fenn Family], 1903"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 1","/repositories/2/archival_objects/81871"],"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":1602,"parent_access_restrict_tesm":["Fragile materials served by appointment. Gloves required."],"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"_nest_path_":"/components#26/components#2/components#0","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179111","_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_179112"}},{"id":"3a691bb3ebf7b743485425f4_aspace_83f3c4287ccdb6117cbd86f888cab779","type":"File","attributes":{"title":"Woman Is A Sometime Thing","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/3a691bb3ebf7b743485425f4_aspace_83f3c4287ccdb6117cbd86f888cab779#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThis folder contains the following parts: \u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/3a691bb3ebf7b743485425f4_aspace_83f3c4287ccdb6117cbd86f888cab779#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_83f3c4287ccdb6117cbd86f888cab779","ref_ssm":["aspace_83f3c4287ccdb6117cbd86f888cab779","aspace_83f3c4287ccdb6117cbd86f888cab779"],"id":"3a691bb3ebf7b743485425f4_aspace_83f3c4287ccdb6117cbd86f888cab779","title_filing_ssi":"Woman Is A Sometime Thing","title_ssm":["Woman Is A Sometime Thing"],"title_tesim":["Woman Is A Sometime Thing"],"normalized_title_ssm":["Woman Is A Sometime Thing"],"text":["Woman Is A Sometime Thing","Robert H. Stone and Pamela S. Carey Jazz Collection, 1920","Series I: Alpha","Box 20","Folder 490","/repositories/12/archival_objects/213229","Potts, Bill (1928-04-03-2005-02-15)","Jazz","Jazz musicians","Sheet music","Popular music -- Lead sheets","English","This folder contains the following parts: ","Sax: 2 alto, 2 tenor, 1 bari\nTrumpet: 5\nTrombone: 5\nBass: 1\nPiano: 1\nPercussion: 1\nConductor: 1"],"component_level_isim":[3],"parent_ids_ssim":["3a691bb3ebf7b743485425f4","3a691bb3ebf7b743485425f4_aspace_e94ac77e4287197827a5217522d899b0","3a691bb3ebf7b743485425f4_aspace_3e97f81c3e0b500eacd49dcd60a43cd4"],"parent_unittitles_ssm":["Robert H. Stone and Pamela S. Carey Jazz Collection, 1920","Series I: Alpha","Box 20"],"parent_unittitles_tesim":["Robert H. Stone and Pamela S. 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Due to copyright restrictions, items in this collection may not be photographed or scanned."],"names_ssim":["Potts, Bill (1928-04-03-2005-02-15)"],"persname_ssim":["Potts, Bill (1928-04-03-2005-02-15)"],"access_subjects_ssim":["Jazz","Jazz musicians","Sheet music","Popular music -- Lead sheets"],"access_subjects_ssm":["Jazz","Jazz musicians","Sheet music","Popular music -- Lead sheets"],"language_ssim":["English"],"scopecontent_html_tesm":["\u003cp\u003eThis folder contains the following parts: \u003c/p\u003e","\u003cp\u003eSax: 2 alto, 2 tenor, 1 bari\nTrumpet: 5\nTrombone: 5\nBass: 1\nPiano: 1\nPercussion: 1\nConductor: 1\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This folder contains the following parts: ","Sax: 2 alto, 2 tenor, 1 bari\nTrumpet: 5\nTrombone: 5\nBass: 1\nPiano: 1\nPercussion: 1\nConductor: 1"],"_nest_path_":"/components#0/components#19/components#9","_nest_parent_":"3a691bb3ebf7b743485425f4_aspace_3e97f81c3e0b500eacd49dcd60a43cd4","_root_":"3a691bb3ebf7b743485425f4","_version_":1870852924015378432,"timestamp":"2026-07-16T06:46:23.350Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"3a691bb3ebf7b743485425f4","title_ssm":["Robert H. Stone and Pamela S. Carey Jazz Collection"],"title_tesim":["Robert H. Stone and Pamela S. Carey Jazz Collection"],"ead_ssi":"3a691bb3ebf7b743485425f4","unitdate_ssm":["1920"],"unitdate_other_ssim":["1920"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["FSUML-2022-03","/repositories/12/resources/2018"],"text":["FSUML-2022-03","/repositories/12/resources/2018","Robert H. Stone and Pamela S. Carey Jazz Collection, 1920","Jazz","Jazz ensembles","Jazz musicians","Jazz singers","Jazz vocals","Jazz -- 1971-1980 -- Lead sheets","Jazz -- 1951-1960 -- Lead sheets","Popular music -- Lead sheets","Sheet music--United States--History","This collection is available for viewing in person.","This collection was owned in its entirety by Robert H. Stone and Pamela S. Carey.","This collection contains lead sheets, parts, and assorted jazz arrangements created by 200 arrangers, including some of unknown origin. The dates for this collection range from 1920-present. Many of these items are handwritten and unpublished. This collection was donated by Robert \"Bob\" Stone and Pamela S. Carey.","Bob Stone, the Founder and Musical Director of The Naples Jazz Orchestra, brings over forty (40) years of musical experience to the organization. This includes professional performance, ensemble development, musical directing/conducting, and teaching/mentoring students and professional musicians. Mr. Stone has had performance engagements with over 80 headliners, including some of the greatest names and organizations in American jazz and popular music such as Count Basie, Frank Sinatra, Lionel Hampton, Harry James, The Four Freshmen, and many, many more. He formed, managed, directed, promoted and played in one of the most famous big bands of its era, The Bob Stone Big Band, in Chicago, IL 1976-1989.","This collection is available for viewing in person. 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Carey.\u003c/p\u003e\n","\u003cp\u003eBob Stone, the Founder and Musical Director of The Naples Jazz Orchestra, brings over forty (40) years of musical experience to the organization. This includes professional performance, ensemble development, musical directing/conducting, and teaching/mentoring students and professional musicians. Mr. Stone has had performance engagements with over 80 headliners, including some of the greatest names and organizations in American jazz and popular music such as Count Basie, Frank Sinatra, Lionel Hampton, Harry James, The Four Freshmen, and many, many more. He formed, managed, directed, promoted and played in one of the most famous big bands of its era, The Bob Stone Big Band, in Chicago, IL 1976-1989.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains lead sheets, parts, and assorted jazz arrangements created by 200 arrangers, including some of unknown origin. The dates for this collection range from 1920-present. Many of these items are handwritten and unpublished. This collection was donated by Robert \"Bob\" Stone and Pamela S. Carey.","Bob Stone, the Founder and Musical Director of The Naples Jazz Orchestra, brings over forty (40) years of musical experience to the organization. This includes professional performance, ensemble development, musical directing/conducting, and teaching/mentoring students and professional musicians. Mr. Stone has had performance engagements with over 80 headliners, including some of the greatest names and organizations in American jazz and popular music such as Count Basie, Frank Sinatra, Lionel Hampton, Harry James, The Four Freshmen, and many, many more. He formed, managed, directed, promoted and played in one of the most famous big bands of its era, The Bob Stone Big Band, in Chicago, IL 1976-1989."],"userestrict_html_tesm":["\u003cp\u003eThis collection is available for viewing in person. 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Due to copyright restrictions, items in this collection may not be photographed or scanned."],"names_ssim":["Allen Music Library Special Collections","London Orchestration","Albam, Manny (1922-06-24-2001-10-02)","Ayoub, Nick, 1926-1991","Dee Barton","Barone, Mike, 1936-","Bellson, Lou ","Berg, Curt","Blumberg, Dave","Boice, John","Boland, Francy (19291106-20050812)","Briggs, Bill, (Composer)","Bryant, Bobby (1934-05-19-1998-06)","Burns, Ralph (1922-06-29-2001-11-21)","Byers, Billy, 1927-1996","Carisi, John","Casagrande, Al ","Catingub, Matt","Chase, Bill","Childers, Buddy, 1926-2007","Caiazza, Igor","Cicchetti, Charles \"Chick\"","Clausen, Alf (19410328)","Coccia, Joe","Cohn, Al (1925-11-24-1988-02-15)","Colombier, Michel (19390523-20041114)","Comstock, Frank (1922-09-22-2013-05-21)","Costa, Don (1925-06-10-1983-01-19)","Dameron, Tadd, 1917-1965","Davis, Wild Bill, 1918-1995","Davis, Rick ","Dimmick, Don ","Eklund, Bernt","Ellington, Duke, 1899-1974","Evans, Gil, 1912-1988","Evans, Marion (1926-05-01)","Farnon, Robert (1917-07-24-2005-04-23)","Ferenturo, Ken","Florence, Bob, 1932-2008","Flory, Med, 1926-2014","Foster, Frank (Frank Benjamin), 1928-2011","Galliard, John Ernest, -1747","Gibbs, Michael (Michael Clement Irving), 1937-","Gray, Jerry, 1915-1976","Grove, Dick, 1927-1998","Haerle, Dan","Hampton, Slide (1932-04-21-2021-11-20)","Hanna, Ken, jazz trumpeter","Hartley, Lanny  ","Heath, Ted, 1902-1969","Heathman, Mike","Hefti, Neal (Neal Paul) (19221029-20081011)","Hensel, Wes, 1917-1982","Hill, Jay","Hodges, Tommy ","Holman, Bill (Willis Leonard) (1927-05-21)","Johnstone, Bruce","Jones, Jimmy, 1930-","Jones, Quincy (Quincy Delight), 1933-","Jones, Thad (1923-03-28-1986-08-20)","Kelly, Phil, 1937-","Kennedy, Jay, 1951-","Kenton, Stan (1911-12-15-1979-08-25)","King, Joe, (Trumpet player)","Kubis, Tom","LaParta, John ","Maiden, Willie, 1928-1976","Mandel, Johnny (1925-11-23-2020-06-29)","Manone, Jimmy","Mantooth, Frank","Mardin, Adrif ","Martin, Skip, 1957-","Mathieu, W. 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Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","In 2012, Rrick Cullen, Jaclyn Nowack, and Teresa Van Dyke processed this collection.","Born near Winchester, Virginia in 1920, Virginia Artrip Snyder moved to Boca Raton, Florida when she entered the inaugural class at Florida Atlantic University in 1964. She received a degree in government and politics in 1965 and went on to become an investigative reporter for the Ft. Lauderdale News and later the Boca Raton News. During her career in journalism she was accorded seven national, state, and local awards for investigative reporting. 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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":2783,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870842130979618816,"_root_":"0f3ff22ed6c6664bd88a5adc","timestamp":"2026-07-16T03:54:50.079Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/0f3ff22ed6c6664bd88a5adc_aspace_132301"}},{"id":"447fec1457e486cb004ab68b_aspace_67ef6e935a5529699c94d86316a47952","type":"File","attributes":{"title":"\"Woman Is\" Show bill","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/447fec1457e486cb004ab68b_aspace_67ef6e935a5529699c94d86316a47952#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_67ef6e935a5529699c94d86316a47952","ref_ssm":["aspace_67ef6e935a5529699c94d86316a47952","aspace_67ef6e935a5529699c94d86316a47952"],"id":"447fec1457e486cb004ab68b_aspace_67ef6e935a5529699c94d86316a47952","title_filing_ssi":"\"Woman Is\" Show bill","title_ssm":["\"Woman Is\" Show bill"],"title_tesim":["\"Woman Is\" Show bill"],"normalized_title_ssm":["\"Woman Is\" Show bill"],"text":["\"Woman Is\" Show bill","Reno Family Papers, 1900-2000","Box 2","Jane Wood Reno","Personal","Folder 30","/repositories/2/archival_objects/77496","folder 30"],"component_level_isim":[4],"parent_ids_ssim":["447fec1457e486cb004ab68b","447fec1457e486cb004ab68b_aspace_9fffc0c4d1f7a347c429447fe06096a3","447fec1457e486cb004ab68b_aspace_33b9bcccc5d25dfb223ecd76c881c137","447fec1457e486cb004ab68b_aspace_9151f0c1bdf7816be4f91955ca0c9f4c"],"parent_unittitles_ssm":["Reno Family Papers, 1900-2000","Box 2","Jane Wood Reno","Personal"],"parent_unittitles_tesim":["Reno Family Papers, 1900-2000","Box 2","Jane Wood Reno","Personal"],"parent_levels_ssm":["collection","Other level","Series","Subseries"],"unitid_ssm":["Folder 30","/repositories/2/archival_objects/77496"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Reno Family Papers, 1900-2000"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":103,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["The Reno Family Papers are owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"containers_ssim":["folder 30"],"_nest_path_":"/components#1/components#0/components#0/components#29","_nest_parent_":"447fec1457e486cb004ab68b_aspace_9151f0c1bdf7816be4f91955ca0c9f4c","_root_":"447fec1457e486cb004ab68b","_version_":1870844441296633856,"timestamp":"2026-07-16T04:31:33.651Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"447fec1457e486cb004ab68b","title_ssm":["Reno Family Papers"],"title_tesim":["Reno Family Papers"],"ead_ssi":"447fec1457e486cb004ab68b","unitdate_ssm":["1900-2000"],"unitdate_inclusive_ssm":["1900-2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC9005","/repositories/2/resources/109"],"text":["SPC9005","/repositories/2/resources/109","Reno Family Papers, 1900-2000","Miami","correspondence","editorials","Miami Herald","Miami News","Newsday","Authorship","Journalism","Journalism--Regional","Journalists","Newspaper Employees","reporters and reporting","This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.","The materials in this collection are arranged as follows:\nHenry Reno--Personal, Professional;\nJane Wood Reno--Personal, Professional;\nChildren of Henry and Jane Reno;\nFamily and Friends;\nFamily Photos;\nGeneral Photos;\nScrapbooks--Janet Reno European Trip;\nOversize Items;\nJane Reno Oversize Items;\nRobert Reno Oversize Items;\nRobert Reno \"The Liberal Opinions\" Newspaper Column","Henry Olaf Reno was a Danish-American journalist. Born in Denmark with the surname Rasmussen, Reno emigrated to the United States in 1912 and settled in Miami, Florida. After attending the University of Tennessee, he became a reporter for the Miami Herald, working there primarily as a crime reporter for 43 years. Henry Olaf Reno had 3 children. He passed away on 7 August 1967 in Miami, Miami-Dade, Florida, USA.","Jane Wood Reno worked as a reporter for the now-defunct Miami News. Jane Wood entered Lanier High School for Girls in Macon, Georgia, at age 11. In 1925, her family moved to Miami, Florida, and she entered Miami High School as a sophomore and graduated at age 15. Her father, a lawyer, had moved down during the Miami boom years. While she intially thought that Florida was dull and boring, the 1926 hurricane changed her mind. \"It had force, all that great power. It was something I could feel,\" she said. She then entered the University of Miami as an English major, but after two years took off to Greece to live with her Aunt Margaret Sloan (Hunter) Balfour and her husband, Dr. Marshall Balfour. In 1932 she returned to Florida and went back to UM but switched her major to physics. After graduating, she went to work as a social worker in Miami.","In high school, Jane Wood had been interested in journalism and even interviewed Marjorie Stoneman Douglas. In her first two years of college, though, her partying caused her to flunk journalism. After the 1935 Hurricane, she grew disenchanted with social work and went to work at the Miami Herald.","At the Herald, she met and later married its star police reporter, Henry Olaf Reno, and even managed to scoop him on a story which earned her \"The Big Story Award.\"Jane and Henry built their house \"way out by the Everglades\" in what is now the middle of suburban Kendall. In addition to her job as a reported, Jane managed the Miami Seaquarium account as a publicist and grabbed world attention when she sent a male porpoise--via ocean liner--to Italy to console a femal porpoise whose mate had died. All of her pet peacocks were named Horace. ","\nThe Children:","Janet Reno was the first female US Attorney General, appointed by Pressident Bill Clinton in 1993. This was fitting, as she had always been a pioneer. She attended Cornell University, where she majored in chemistry during a time when there were not many women in that field. While at Cornell she was a member of the Women's Student Government Association (WSGA). She graduated from Harvard Law School as one of only 16 women in a class of 500. She worked for the Dade County State Attorney's office, and subsequently became State Attorney for the 11th Judicial Circuit of Florida in 1978. ","After her tenure at US Attorney General, she returned to Florida and became involved in environmental and educational activism. She ran in the Democratic primary for Governor in 2002, though she was subsequently defeated. She passed away from Parkinson's Disease in 2016.","Maggy Reno Hurchalla was an actitivst and a Martin County (Florida) commissioner from 1974-1994, serving as a Democrat in a heavily Republican region. She was the county's first female county commissioner and was known for her strong environmentalist views, she served on the state board of the Nature Conservancy and on the Governor's Commission for a Sustainable South Florida. She passed away in 2022.","Robert Reno followed his parents into a career in journalism. He worked for the Miami Herald in both Miami and Key West, New Orleans Times-Picayune, and Newsday. According to his obituary in The Miami Herald: \"As a liberal columnist from the 1980s until his retirement in early 2003, Reno took on the National Rifle Association, conservatives, and the super rich, railed against poverty, social inequality and corrupt politicians, and delighted in deflating the outsized egos of the powerful.\" Robert passed away in 2012.","Mark Reno had a keen sense of adventure. According to a Miami Herald article after his death, it was noted that he \"worked as a game warden, a boat captain, an alligator wrestler, a scuba diver, a paratrooper, ran tugboats and an oil supply ship off the coast of Nigeria, and, primarily, worked as a carpenter. While in the Army he earned a commission as a 2nd Lieutenant, prompting Henry to dub him \"Lt. Fuzz\" (a nod to the \"Beetle Bailey\" comic stip character). In his last two months, he managed to carve benches out of tree remains he'd kept, left over from the devastation of Hurricane Andrew in 1992.\" Mark Reno also worked as a bailiff in Dade County. He passed away in 2014.","Extended Family Represented in this Collection:","George Wood, Jane's father, was an attorney in Macon, GA, and later in Miami. Included in these papers are some of his correspondence and dockets related to legal cases he worked on during the 1920s, especially during the Florida Land Boom. ","Winifried Wood: Jane's sister was a pilot and a member of the famed Women's Air Service Pilots (WASP) during World War II. She wrote a book about her adventures entitled \"We Were WASPS,\" a manuscript of which is maintained in this collection. ","Other family members are, of course, mentioned. Jane had started to work on family geneology and some of her notes are included herein. ","LANGUAGE WARNING: Some personal correspondence and newspaper articles contain language that was common in the American South during the mid-20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.","The materials in this collection represent the Reno family's service as journalists as well as their love of South Florida. These materials are the private and public writings, photographs, and ephemera of the family and provide biographical background and context to multiple figures, including Attorney General Janet Reno. \nReflecting the family's journalistic occupations, Henry, Jane, and Robert's newspaper articles and columns make up the bulk of the items in this collection.","The Reno Family Papers are owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","Henry Olaf and Jane Wood Reno","English"],"unitid_tesim":["SPC9005","/repositories/2/resources/109"],"normalized_date_ssm":["1900-2000"],"normalized_title_ssm":["Reno Family Papers, 1900-2000"],"collection_title_tesim":["Reno Family Papers, 1900-2000"],"collection_ssim":["Reno Family Papers, 1900-2000"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"geogname_ssm":["Miami"],"geogname_ssim":["Miami"],"creator_ssm":["Henry Olaf and Jane Wood Reno"],"creator_ssim":["Henry Olaf and Jane Wood Reno"],"creator_famname_ssim":["Henry Olaf and Jane Wood Reno"],"creators_ssim":["Henry Olaf and Jane Wood Reno"],"places_ssim":["Miami"],"access_terms_ssm":["The Reno Family Papers are owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"acqinfo_ssim":["Materials were donated by Maggy (Reno) Hurchalla"],"access_subjects_ssim":["correspondence","editorials","Miami Herald","Miami News","Newsday","Authorship","Journalism","Journalism--Regional","Journalists","Newspaper Employees","reporters and reporting"],"access_subjects_ssm":["correspondence","editorials","Miami Herald","Miami News","Newsday","Authorship","Journalism","Journalism--Regional","Journalists","Newspaper Employees","reporters and reporting"],"has_online_content_ssim":["false"],"extent_ssm":["22.62 Linear Feet","14 boxes"],"extent_tesim":["22.62 Linear Feet","14 boxes"],"physfacet_tesim":["4 Banker Boxes; 7 Medium Flat Boxes; 3 Large Flat Boxes"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact Special Collections \u0026amp; University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"arrangement_html_tesm":["\u003cp\u003eThe materials in this collection are arranged as follows:\nHenry Reno--Personal, Professional;\nJane Wood Reno--Personal, Professional;\nChildren of Henry and Jane Reno;\nFamily and Friends;\nFamily Photos;\nGeneral Photos;\nScrapbooks--Janet Reno European Trip;\nOversize Items;\nJane Reno Oversize Items;\nRobert Reno Oversize Items;\nRobert Reno \"The Liberal Opinions\" Newspaper Column\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The materials in this collection are arranged as follows:\nHenry Reno--Personal, Professional;\nJane Wood Reno--Personal, Professional;\nChildren of Henry and Jane Reno;\nFamily and Friends;\nFamily Photos;\nGeneral Photos;\nScrapbooks--Janet Reno European Trip;\nOversize Items;\nJane Reno Oversize Items;\nRobert Reno Oversize Items;\nRobert Reno \"The Liberal Opinions\" Newspaper Column"],"bioghist_html_tesm":["\u003cp\u003eHenry Olaf Reno was a Danish-American journalist. Born in Denmark with the surname Rasmussen, Reno emigrated to the United States in 1912 and settled in Miami, Florida. After attending the University of Tennessee, he became a reporter for the Miami Herald, working there primarily as a crime reporter for 43 years. Henry Olaf Reno had 3 children. He passed away on 7 August 1967 in Miami, Miami-Dade, Florida, USA.\u003c/p\u003e\n","\u003cp\u003eJane Wood Reno worked as a reporter for the now-defunct Miami News. Jane Wood entered Lanier High School for Girls in Macon, Georgia, at age 11. In 1925, her family moved to Miami, Florida, and she entered Miami High School as a sophomore and graduated at age 15. Her father, a lawyer, had moved down during the Miami boom years. While she intially thought that Florida was dull and boring, the 1926 hurricane changed her mind. \"It had force, all that great power. It was something I could feel,\" she said. She then entered the University of Miami as an English major, but after two years took off to Greece to live with her Aunt Margaret Sloan (Hunter) Balfour and her husband, Dr. Marshall Balfour. In 1932 she returned to Florida and went back to UM but switched her major to physics. After graduating, she went to work as a social worker in Miami.\u003c/p\u003e\n","\u003cp\u003eIn high school, Jane Wood had been interested in journalism and even interviewed Marjorie Stoneman Douglas. In her first two years of college, though, her partying caused her to flunk journalism. After the 1935 Hurricane, she grew disenchanted with social work and went to work at the Miami Herald.\u003c/p\u003e\n","\u003cp\u003eAt the Herald, she met and later married its star police reporter, Henry Olaf Reno, and even managed to scoop him on a story which earned her \"The Big Story Award.\"Jane and Henry built their house \"way out by the Everglades\" in what is now the middle of suburban Kendall. In addition to her job as a reported, Jane managed the Miami Seaquarium account as a publicist and grabbed world attention when she sent a male porpoise--via ocean liner--to Italy to console a femal porpoise whose mate had died. All of her pet peacocks were named Horace. \u003c/p\u003e\n","\u003cp\u003e\nThe Children:\u003c/p\u003e\n","\u003cp\u003eJanet Reno was the first female US Attorney General, appointed by Pressident Bill Clinton in 1993. This was fitting, as she had always been a pioneer. She attended Cornell University, where she majored in chemistry during a time when there were not many women in that field. While at Cornell she was a member of the Women's Student Government Association (WSGA). She graduated from Harvard Law School as one of only 16 women in a class of 500. She worked for the Dade County State Attorney's office, and subsequently became State Attorney for the 11th Judicial Circuit of Florida in 1978. \u003c/p\u003e\n","\u003cp\u003eAfter her tenure at US Attorney General, she returned to Florida and became involved in environmental and educational activism. She ran in the Democratic primary for Governor in 2002, though she was subsequently defeated. She passed away from Parkinson's Disease in 2016.\u003c/p\u003e\n","\u003cp\u003eMaggy Reno Hurchalla was an actitivst and a Martin County (Florida) commissioner from 1974-1994, serving as a Democrat in a heavily Republican region. She was the county's first female county commissioner and was known for her strong environmentalist views, she served on the state board of the Nature Conservancy and on the Governor's Commission for a Sustainable South Florida. She passed away in 2022.\u003c/p\u003e\n","\u003cp\u003eRobert Reno followed his parents into a career in journalism. He worked for the Miami Herald in both Miami and Key West, New Orleans Times-Picayune, and Newsday. According to his obituary in The Miami Herald: \"As a liberal columnist from the 1980s until his retirement in early 2003, Reno took on the National Rifle Association, conservatives, and the super rich, railed against poverty, social inequality and corrupt politicians, and delighted in deflating the outsized egos of the powerful.\" Robert passed away in 2012.\u003c/p\u003e\n","\u003cp\u003eMark Reno had a keen sense of adventure. According to a Miami Herald article after his death, it was noted that he \"worked as a game warden, a boat captain, an alligator wrestler, a scuba diver, a paratrooper, ran tugboats and an oil supply ship off the coast of Nigeria, and, primarily, worked as a carpenter. While in the Army he earned a commission as a 2nd Lieutenant, prompting Henry to dub him \"Lt. Fuzz\" (a nod to the \"Beetle Bailey\" comic stip character). In his last two months, he managed to carve benches out of tree remains he'd kept, left over from the devastation of Hurricane Andrew in 1992.\" Mark Reno also worked as a bailiff in Dade County. He passed away in 2014.\u003c/p\u003e\n","\u003cp\u003eExtended Family Represented in this Collection:\u003c/p\u003e\n","\u003cp\u003eGeorge Wood, Jane's father, was an attorney in Macon, GA, and later in Miami. Included in these papers are some of his correspondence and dockets related to legal cases he worked on during the 1920s, especially during the Florida Land Boom. \u003c/p\u003e\n","\u003cp\u003eWinifried Wood: Jane's sister was a pilot and a member of the famed Women's Air Service Pilots (WASP) during World War II. She wrote a book about her adventures entitled \"We Were WASPS,\" a manuscript of which is maintained in this collection. \u003c/p\u003e\n","\u003cp\u003eOther family members are, of course, mentioned. Jane had started to work on family geneology and some of her notes are included herein. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Henry Olaf Reno was a Danish-American journalist. Born in Denmark with the surname Rasmussen, Reno emigrated to the United States in 1912 and settled in Miami, Florida. After attending the University of Tennessee, he became a reporter for the Miami Herald, working there primarily as a crime reporter for 43 years. Henry Olaf Reno had 3 children. He passed away on 7 August 1967 in Miami, Miami-Dade, Florida, USA.","Jane Wood Reno worked as a reporter for the now-defunct Miami News. Jane Wood entered Lanier High School for Girls in Macon, Georgia, at age 11. In 1925, her family moved to Miami, Florida, and she entered Miami High School as a sophomore and graduated at age 15. Her father, a lawyer, had moved down during the Miami boom years. While she intially thought that Florida was dull and boring, the 1926 hurricane changed her mind. \"It had force, all that great power. It was something I could feel,\" she said. She then entered the University of Miami as an English major, but after two years took off to Greece to live with her Aunt Margaret Sloan (Hunter) Balfour and her husband, Dr. Marshall Balfour. In 1932 she returned to Florida and went back to UM but switched her major to physics. After graduating, she went to work as a social worker in Miami.","In high school, Jane Wood had been interested in journalism and even interviewed Marjorie Stoneman Douglas. In her first two years of college, though, her partying caused her to flunk journalism. After the 1935 Hurricane, she grew disenchanted with social work and went to work at the Miami Herald.","At the Herald, she met and later married its star police reporter, Henry Olaf Reno, and even managed to scoop him on a story which earned her \"The Big Story Award.\"Jane and Henry built their house \"way out by the Everglades\" in what is now the middle of suburban Kendall. In addition to her job as a reported, Jane managed the Miami Seaquarium account as a publicist and grabbed world attention when she sent a male porpoise--via ocean liner--to Italy to console a femal porpoise whose mate had died. All of her pet peacocks were named Horace. ","\nThe Children:","Janet Reno was the first female US Attorney General, appointed by Pressident Bill Clinton in 1993. This was fitting, as she had always been a pioneer. She attended Cornell University, where she majored in chemistry during a time when there were not many women in that field. While at Cornell she was a member of the Women's Student Government Association (WSGA). She graduated from Harvard Law School as one of only 16 women in a class of 500. She worked for the Dade County State Attorney's office, and subsequently became State Attorney for the 11th Judicial Circuit of Florida in 1978. ","After her tenure at US Attorney General, she returned to Florida and became involved in environmental and educational activism. She ran in the Democratic primary for Governor in 2002, though she was subsequently defeated. She passed away from Parkinson's Disease in 2016.","Maggy Reno Hurchalla was an actitivst and a Martin County (Florida) commissioner from 1974-1994, serving as a Democrat in a heavily Republican region. She was the county's first female county commissioner and was known for her strong environmentalist views, she served on the state board of the Nature Conservancy and on the Governor's Commission for a Sustainable South Florida. She passed away in 2022.","Robert Reno followed his parents into a career in journalism. He worked for the Miami Herald in both Miami and Key West, New Orleans Times-Picayune, and Newsday. According to his obituary in The Miami Herald: \"As a liberal columnist from the 1980s until his retirement in early 2003, Reno took on the National Rifle Association, conservatives, and the super rich, railed against poverty, social inequality and corrupt politicians, and delighted in deflating the outsized egos of the powerful.\" Robert passed away in 2012.","Mark Reno had a keen sense of adventure. According to a Miami Herald article after his death, it was noted that he \"worked as a game warden, a boat captain, an alligator wrestler, a scuba diver, a paratrooper, ran tugboats and an oil supply ship off the coast of Nigeria, and, primarily, worked as a carpenter. While in the Army he earned a commission as a 2nd Lieutenant, prompting Henry to dub him \"Lt. Fuzz\" (a nod to the \"Beetle Bailey\" comic stip character). In his last two months, he managed to carve benches out of tree remains he'd kept, left over from the devastation of Hurricane Andrew in 1992.\" Mark Reno also worked as a bailiff in Dade County. He passed away in 2014.","Extended Family Represented in this Collection:","George Wood, Jane's father, was an attorney in Macon, GA, and later in Miami. Included in these papers are some of his correspondence and dockets related to legal cases he worked on during the 1920s, especially during the Florida Land Boom. ","Winifried Wood: Jane's sister was a pilot and a member of the famed Women's Air Service Pilots (WASP) during World War II. She wrote a book about her adventures entitled \"We Were WASPS,\" a manuscript of which is maintained in this collection. ","Other family members are, of course, mentioned. Jane had started to work on family geneology and some of her notes are included herein. "],"odd_html_tesm":["\u003cp\u003eLANGUAGE WARNING: Some personal correspondence and newspaper articles contain language that was common in the American South during the mid-20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.\u003c/p\u003e"],"odd_heading_ssm":["Harmful Language Statement"],"odd_tesim":["LANGUAGE WARNING: Some personal correspondence and newspaper articles contain language that was common in the American South during the mid-20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection represent the Reno family's service as journalists as well as their love of South Florida. These materials are the private and public writings, photographs, and ephemera of the family and provide biographical background and context to multiple figures, including Attorney General Janet Reno. \nReflecting the family's journalistic occupations, Henry, Jane, and Robert's newspaper articles and columns make up the bulk of the items in this collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection represent the Reno family's service as journalists as well as their love of South Florida. These materials are the private and public writings, photographs, and ephemera of the family and provide biographical background and context to multiple figures, including Attorney General Janet Reno. \nReflecting the family's journalistic occupations, Henry, Jane, and Robert's newspaper articles and columns make up the bulk of the items in this collection."],"userestrict_html_tesm":["\u003cp\u003eThe Reno Family Papers are owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e\n","\u003cp\u003eFor more information please visit: https://library.fiu.edu/find/copyright/general\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Reno Family Papers are owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. 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Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"containers_ssim":["box 12","folder 30"],"odd_html_tesm":["\u003cp\u003eClinton, Larry\u003c/p\u003e","\u003cp\u003eEssex Music, Inc.\u003c/p\u003e","\u003cp\u003eNew York, NY\u003c/p\u003e","\u003cp\u003eClinton, Larry\u003c/p\u003e"],"odd_heading_ssm":["Lyricist","Publisher","Place","Composer"],"odd_tesim":["Clinton, Larry","Essex Music, Inc.","New York, NY","Clinton, Larry"],"separatedmaterial_html_tesm":["\u003cp\u003eEnglish\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Language"],"separatedmaterial_tesim":["English"],"_nest_path_":"/components#0/components#0/components#1080","_nest_parent_":"3232c27cb5756431732dd4dd_aspace_128095","_root_":"3232c27cb5756431732dd4dd","timestamp":"2026-04-21T17:58:43.015Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"3232c27cb5756431732dd4dd","title_ssm":["Joe Merman Sheet Music Collection"],"title_tesim":["Joe Merman Sheet Music Collection"],"ead_ssi":"3232c27cb5756431732dd4dd","unitdate_ssm":["1909-1999"],"unitdate_inclusive_ssm":["1909-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["PMC00012","/repositories/2/resources/98"],"text":["PMC00012","/repositories/2/resources/98","Joe Merman Sheet Music Collection, 1909-1999","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.","Alphabetical by score name","Joe Merman was a composer, pianist, orchestrator, and arranger of popular Jewish and American music. The Joe Merman Music Collection includes 1000 pieces of sheet music; all scores are unpublished, single-copy manuscripts and represent his diverse talent in writing different combinations of big band charts and pieces for theatre and radio orchestras. The collections also includes two scrap books that contain numerous images, pamphlets, newspaper clippings, and correspondence spanning across Joe Merman","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. 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Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["8.50 Linear Feet","41 boxes other_unmapped"],"extent_tesim":["8.50 Linear Feet","41 boxes other_unmapped"],"date_range_isim":[1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. 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In addition, selected materials are digitized and available electronically through the Digital Library."],"arrangement_html_tesm":["\u003cp\u003eAlphabetical by score name\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Alphabetical by score name"],"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."],"scopecontent_html_tesm":["\u003cp\u003eJoe Merman was a composer, pianist, orchestrator, and arranger of popular Jewish and American music. 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The collections also includes two scrap books that contain numerous images, pamphlets, newspaper clippings, and correspondence spanning across Joe Merman"],"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 Special Collections.\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":2109,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"3232c27cb5756431732dd4dd","timestamp":"2026-04-21T17:58:43.015Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/3232c27cb5756431732dd4dd_aspace_129188"}},{"id":"6a8ca297c8d957a918dee02d_aspace_e0a900dc371474bd8dc0a131c76d3f76","type":"Item","attributes":{"title":"Womanist is to feminist...As purple s to lavender.","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/6a8ca297c8d957a918dee02d_aspace_e0a900dc371474bd8dc0a131c76d3f76#abstract_or_scope","type":"document_value","attributes":{"value":["Hand painted. 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Lavender Rose Artworks, New Haven, CT."],"component_level_isim":[2],"parent_ids_ssim":["6a8ca297c8d957a918dee02d","6a8ca297c8d957a918dee02d_aspace_ba87f3a2e1deb10e99654fc83b834380"],"parent_unittitles_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Realia"],"parent_unittitles_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998","Realia"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["/repositories/2/archival_objects/167974"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1301,"parent_access_terms_tesm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"containers_ssim":["box 25","object 7"],"abstract_html_tesm":["\u003cabstract id=\"aspace_9879ddde32c1ded04f119dff1beaa1bd\"\u003eHand painted. 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In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication  Womyn's Words . As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.","Learn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.","Note written by CBW. Edited by CC, 2026.","Materials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.  Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence.","Womyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","The papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter  Womyn's Words .","USF Libraries - Tampa Special Collections","Daly, Edith (1937-)","English Croatian"],"unitid_tesim":["MS-2006-08","/repositories/2/resources/442"],"normalized_date_ssm":["1973-2014, Date acquired: 2006, bulk 1990-1998"],"normalized_title_ssm":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"collection_title_tesim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"collection_ssim":["Edith \"Edie\" Daly / Women's Energy Bank collection, 1973-2014, Date acquired: 2006, bulk 1990-1998"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.)"],"geogname_ssim":["Tampa (Fla.)"],"creator_ssm":["Daly, Edith (1937-)"],"creator_ssim":["Daly, Edith (1937-)"],"creator_persname_ssim":["Daly, Edith (1937-)"],"creators_ssim":["Daly, Edith (1937-)"],"places_ssim":["Tampa (Fla.)"],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Edith Daly","Donation"],"access_subjects_ssim":["Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies"],"access_subjects_ssm":["Women's studies","Lesbian feminist theory","Lesbian activism","Queer studies"],"has_online_content_ssim":["false"],"extent_ssm":["17 Linear Feet","27 boxes"],"extent_tesim":["17 Linear Feet","27 boxes"],"date_range_isim":[1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021],"arrangement_html_tesm":["\u003cp\u003eOrganized alphabetically within series and subjects.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Organized alphabetically within series and subjects."],"bioghist_html_tesm":["\u003cp\u003eIn 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication \u003cemph render=\"italic\"\u003eWomyn's Words\u003c/emph\u003e. As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.\u003c/p\u003e\n","\u003cp\u003eLearn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.\u003c/p\u003e\n","\u003cp\u003eNote written by CBW. Edited by CC, 2026.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1974, Edith \"Edie\" Daly \"came out\" as both an activist and lesbian.  In 1981, she returned to her home state of Florida where she opened a women's bookstore on Madeira Beach.  Within a year, she co-founded the lesbian, feminist organization Women's Energy Bank (WEB), which hosts monthly meetings (\"Salons\") for its female membership and produces the monthly publication  Womyn's Words . As a member of a number of activist organizations, including Old Lesbians Organizing for Change (OLOC), Southerners on New Ground (SONG), and Women in Black, Daly's work towards world peace has taken her to Europe, Asia, and beyond. Edie Daly also served on the University of South Florida's Women's Studies Advisory Board. She and her wife, Jackie Mirkin, were together for 26 years, and they worked for peace and justice in Gulfport, Florida and around the world until Mirkin's passing in 2023. Daly currently lives in Asheville, NC with her partner and continues her activism through OLOC and SONG.","Learn more about Daly's life at https://storymaps.arcgis.com/stories/0682fc7d8a1349d38a9faf7987ba10d2.","Note written by CBW. Edited by CC, 2026."],"prefercite_html_tesm":["\u003cp\u003eEdith Daly / Women's Energy Bank collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Edith Daly / Women's Energy Bank collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.\u0026#xA0; Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials related to the Women's Energy Bank's political and cultural activities in war resistance, gay and lesbian rights, environmental activism, and feminism.  Items include periodicals, pamphlets, leaflets, manuals, publications, newspaper clippings, programs, and personal correspondence."],"separatedmaterial_html_tesm":["\u003cp\u003eWomyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Womyn's Words (newsletters)\nMichigan Womyn's Music Festival (programs)"],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_035d6fc98144dc90e3c384ced17a9893\"\u003eThe papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter \u003cemph render=\"italic\"\u003eWomyn's Words\u003c/emph\u003e.\u003c/abstract\u003e"],"abstract_tesim":["The papers of Edith Daly, a lesbian activist who co-founded the Women's Energy Bank, a group based in Pinellas County that supported progressive political causes and published the monthly newsletter  Womyn's Words ."],"names_ssim":["USF Libraries - 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