{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64965\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64964\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64966\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65767\u0026view=compact"},"meta":{"pages":{"current_page":64965,"next_page":64966,"prev_page":64964,"total_pages":65767,"limit_value":10,"offset_value":649640,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"41c97c3132b06f0e266f3d98_aspace_420dedc1605a023b8bf01ecca64a8b8f","type":"Item","attributes":{"title":"\"Woman with a Red Hat\" by Elgo, 1996","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/41c97c3132b06f0e266f3d98_aspace_420dedc1605a023b8bf01ecca64a8b8f#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003e\"Woman with a Red Hat\" by Elgo, 1996. 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He earned Higher Diploma in Business and Public Administration and a Law Degree from London University. Encouraged by his wife, Patricia, and his younger sister, Dawn, he began pursuing his talent for art and exhibited multiple times in London in the early 1970s. In the 1980s, his artwork appeared in the South Florida Magazine, \"Reggae Roots.\"","Working under the artist name \"Elgo,\" he exhibited in Miami on numerous occasions, including at the Cocowalk in Coconut Grove. Mayor Alfonso Geraffi of the City of Lauderdale Lakes declared March 13, 1997 as \"Elgo Day.\" In 2001, Elgo and his wife Patricia returned to his native Jamaica and opened an art gallery in Montego Bay. Several of Elgo's pieces are in Ghana, West Africa at the recently built Black Heritage Museum and at the Marcus Garvey Center in Accra.","An exhibition of his artwork was held at the African American Research Library and Cultural Center in 2006. He also exhibited pieces at AARLCC in 2009.","This collection received container level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","The Errol Elgo and Patricia Lewis Collection contains artwork by Elgo and other artists as well as household objects used in Jamaica.","AARLCC Special Collections","English"],"unitid_tesim":["AARLCC.2002.2","/repositories/2/resources/412"],"normalized_date_ssm":["Circa 1800-2001"],"normalized_title_ssm":["Errol \"Elgo\" and Patricia Lewis Collection, Circa 1800-2001"],"collection_title_tesim":["Errol \"Elgo\" and Patricia Lewis Collection, Circa 1800-2001"],"collection_ssim":["Errol \"Elgo\" and Patricia Lewis Collection, Circa 1800-2001"],"repository_ssm":["AARLCC Special Collections"],"repository_ssim":["AARLCC Special Collections"],"access_subjects_ssim":["Art","Paintings"],"access_subjects_ssm":["Art","Paintings"],"has_online_content_ssim":["false"],"extent_ssm":["6 Artwork","4 Objects"],"extent_tesim":["6 Artwork","4 Objects"],"genreform_ssim":["Art","Paintings"],"accessrestrict_html_tesm":["\u003cp\u003eThe Errol Elgo and Patricia Lewis Collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The Errol Elgo and Patricia Lewis Collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eErrol Elgo Lewis was born in Kingston, Jamaica on February 24th, 1950. He earned Higher Diploma in Business and Public Administration and a Law Degree from London University. Encouraged by his wife, Patricia, and his younger sister, Dawn, he began pursuing his talent for art and exhibited multiple times in London in the early 1970s. In the 1980s, his artwork appeared in the South Florida Magazine, \"Reggae Roots.\"\u003c/p\u003e\n","\u003cp\u003eWorking under the artist name \"Elgo,\" he exhibited in Miami on numerous occasions, including at the Cocowalk in Coconut Grove. Mayor Alfonso Geraffi of the City of Lauderdale Lakes declared March 13, 1997 as \"Elgo Day.\" In 2001, Elgo and his wife Patricia returned to his native Jamaica and opened an art gallery in Montego Bay. Several of Elgo's pieces are in Ghana, West Africa at the recently built Black Heritage Museum and at the Marcus Garvey Center in Accra.\u003c/p\u003e\n","\u003cp\u003eAn exhibition of his artwork was held at the African American Research Library and Cultural Center in 2006. He also exhibited pieces at AARLCC in 2009.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Errol Elgo Lewis was born in Kingston, Jamaica on February 24th, 1950. He earned Higher Diploma in Business and Public Administration and a Law Degree from London University. Encouraged by his wife, Patricia, and his younger sister, Dawn, he began pursuing his talent for art and exhibited multiple times in London in the early 1970s. In the 1980s, his artwork appeared in the South Florida Magazine, \"Reggae Roots.\"","Working under the artist name \"Elgo,\" he exhibited in Miami on numerous occasions, including at the Cocowalk in Coconut Grove. Mayor Alfonso Geraffi of the City of Lauderdale Lakes declared March 13, 1997 as \"Elgo Day.\" In 2001, Elgo and his wife Patricia returned to his native Jamaica and opened an art gallery in Montego Bay. Several of Elgo's pieces are in Ghana, West Africa at the recently built Black Heritage Museum and at the Marcus Garvey Center in Accra.","An exhibition of his artwork was held at the African American Research Library and Cultural Center in 2006. He also exhibited pieces at AARLCC in 2009."],"prefercite_html_tesm":["\u003cp\u003eErrol Elgo and Patricia Lewis Collection, AARLCC Special Collections, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["Errol Elgo and Patricia Lewis Collection, AARLCC Special Collections, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThis collection received container level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection received container level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection."],"scopecontent_html_tesm":["\u003cp\u003eThe Errol Elgo and Patricia Lewis Collection contains artwork by Elgo and other artists as well as household objects used in Jamaica.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Errol Elgo and Patricia Lewis Collection contains artwork by Elgo and other artists as well as household objects used in Jamaica."],"names_ssim":["AARLCC Special Collections"],"corpname_ssim":["AARLCC Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":13,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1871563557331533824,"_root_":"41c97c3132b06f0e266f3d98","timestamp":"2026-07-24T03:01:36.149Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/41c97c3132b06f0e266f3d98_aspace_420dedc1605a023b8bf01ecca64a8b8f"}},{"id":"edc1f8792c912192f7c15d4d_aspace_31737fedc0cd65cb111a2398b3e9c8fc","type":"Item","attributes":{"title":"\"Woman with Basket\" by Luce Turnier, 1978","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/edc1f8792c912192f7c15d4d_aspace_31737fedc0cd65cb111a2398b3e9c8fc#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eCollage, 21 x 9 inches\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/edc1f8792c912192f7c15d4d_aspace_31737fedc0cd65cb111a2398b3e9c8fc#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_31737fedc0cd65cb111a2398b3e9c8fc","ref_ssm":["aspace_31737fedc0cd65cb111a2398b3e9c8fc","aspace_31737fedc0cd65cb111a2398b3e9c8fc"],"id":"edc1f8792c912192f7c15d4d_aspace_31737fedc0cd65cb111a2398b3e9c8fc","title_filing_ssi":"\"Woman with Basket\" by Luce Turnier","title_ssm":["\"Woman with Basket\" by Luce Turnier"],"title_tesim":["\"Woman with Basket\" by Luce Turnier"],"unitdate_other_ssim":["1978"],"normalized_date_ssm":["1978"],"normalized_title_ssm":["\"Woman with Basket\" by Luce Turnier, 1978"],"text":["\"Woman with Basket\" by Luce Turnier, 1978","Vivian D. and John H. Hewitt Collection, 1942-2020","Art","/repositories/2/archival_objects/2068","Luce Turnier, 1924-1994","Art, Haitian","Art","Collage, 21 x 9 inches"],"component_level_isim":[2],"parent_ids_ssim":["edc1f8792c912192f7c15d4d","edc1f8792c912192f7c15d4d_aspace_45bf9b4ed1bf234e52782058d59a56ec"],"parent_unittitles_ssm":["Vivian D. and John H. Hewitt Collection, 1942-2020","Art"],"parent_unittitles_tesim":["Vivian D. and John H. Hewitt Collection, 1942-2020","Art"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/2068"],"repository_ssim":["AARLCC Special Collections"],"collection_ssim":["Vivian D. and John H. Hewitt Collection, 1942-2020"],"creator_ssim":["Luce Turnier, 1924-1994"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":155,"parent_access_restrict_tesm":["The Vivian D. and John H. Hewitt Collection is open for research."],"date_range_isim":[1978],"names_ssim":["Luce Turnier, 1924-1994"],"persname_ssim":["Luce Turnier, 1924-1994"],"access_subjects_ssim":["Art, Haitian","Art"],"access_subjects_ssm":["Art, Haitian","Art"],"scopecontent_html_tesm":["\u003cp\u003eCollage, 21 x 9 inches\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Collage, 21 x 9 inches"],"_nest_path_":"/components#3/components#11","_nest_parent_":"edc1f8792c912192f7c15d4d_aspace_45bf9b4ed1bf234e52782058d59a56ec","_root_":"edc1f8792c912192f7c15d4d","_version_":1876455832185470976,"timestamp":"2026-09-16T03:02:13.023Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"edc1f8792c912192f7c15d4d","title_filing_ssi":"Hewitt, Vivian D. and John H. Collection","title_ssm":["Vivian D. and John H. Hewitt Collection"],"title_tesim":["Vivian D. and John H. Hewitt Collection"],"ead_ssi":"edc1f8792c912192f7c15d4d","unitdate_ssm":["1942-2020"],"unitdate_inclusive_ssm":["1942-2020"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["AARLCC.2004.7","/repositories/2/resources/48"],"text":["AARLCC.2004.7","/repositories/2/resources/48","Vivian D. and John H. Hewitt Collection, 1942-2020","African American art -- Collectors and collecting","Art, Haitian","African American librarians","African American librarians","Paintings","Correspondence","Exhibition catalogs","Clippings","Periodicals","Art","The Vivian D. and John H. Hewitt Collection is open for research.","View a selection of digitized materials from the Vivian D. and John H. Hewitt Collection in the Broward County Library Digital Archives.","John Hamilton Hewitt Jr. and Vivian Davidson Hewitt married in December 1949 and collected art from the African Diaspora. Their art collection of over 500 pieces primarily contained African American and Haitian art. Portions of the collection that they amassed now reside at several major museums throughout the United States.","John Hamilton Hewitt Jr. was born in 1924 in New York City, New York. He attended Harvard College and New York University where he obtained his Master's degree in 1949. Hewitt was an instructor for the Department of English and co-chairman for the Division of Humanities at Morehouse College in Atlanta. Hewitt also held the post of reporter for the New York Amsterdam News; later on he became a medical writer for the Medical Tribune, and served as an editor for both Hospital Practice and Emergency Medicine. Hewitt wrote various articles in publications such as the New York History, the Massachusetts Review, Afro-Americans in New York Life and History, and the International Review of African American Art. He was a member of the American Medical Writers Association. John Hewitt passed away on February 25, 2000.","Vivian Ann Davidson was born on February 17, 1920 in New Castle, Pennsylvania. She earned a Bachelor's degree in Education from Geneva College in 1943 and a M.S. degree in library science from Carnegie-Mellon University in Pittsburg, Pennsylvania in 1944. Vivian Hewitt worked as a librarian in Pittsburg and Atlanta, Georgia. She was the first black woman to serve as a librarian in the city of Pittsburgh. From 1963 to 1983, she was the chief librarian at the Carnegie Endowment for International Peace. Vivian was the first African American president of the Special Libraries Association (1978-1979). She was awarded the Distinguished Alumni Citation from the University of Pittsburgh-Carnegie Library School Alumni Association, Merit Award from Carnegie Mellon University, and the L.H.D. from Geneva College. In addition to being recognized by her alma maters, she was recognized by the American Library Association, and in 1984 she was inducted into the organization's Hall of Fame. In 2016, Queen Elizabeth II of Great Britain bestowed the title of Dame upon Hewitt for her work in the service of humanity. In 2017, Hewitt received an Honorary Doctor of Humane Letters degree at Carnegie Mellon University's 120th Commencement. She passed away on May 29, 2022.","John and Vivian Hewitt had one son, John Hewitt III (1952-2022).","The Hewitts moved to New York in 1951. In the 1960s, the Hewitts collected primarily Haitian art. In the 1970s, the Hewitts began exhibiting their collection of art in their Sugar Hill, Harlem home and became enmeshed in New York's art community. J. Eugene Grigsby, Vivian Hewitt's cousin and internationally acclaimed artist, introduced the couple to many artists. At that time the couple began collecting art by African American artists as well.","In 1998, the Hewitts sold 58 of their major works to the Bank of America which resulted in a travelling exhibition of the pieces at 25 museums. In 2009, the Bank of America donated the collection to the Harvey B. Gantt Center for African-American Arts and Culture.","In 1998, Vivian Hewitt attended two fundraisers for the construction of the African American Research Library and Cultural Center (AARLCC) in Fort Lauderdale, Florida. In 2002, artwork from her collection was exhibited at AARLCC in \"Celebration and Vision: The Hewitt Collection of African-American Art.\" Also in 2002, Vivian Hewitt donated 14 pieces of Haitian art from their collection to the Broward County Library in memory of her husband, John H. Hewitt, Jr. Along with the art she also donated personal papers as well as books and other supporting materials. In 2022, in celebration of the 20th anniversary of the opening of the African American Research Library and Cultural Center, the library held an exhibit titled \"Collectors' Duet: The Lifelong Librarianship of Vivian D. Hewitt and Dorothy Porter Wesley.\"","The Vivian D. and John H. Hewitt Collection received file level processing by Afua Ferdnance and Emily Calderon in 2021. Additional materials were processed at the item level by Erin Purdy in April 2025. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","The John and Vivian Hewitt Collection of African-American Art, Harvey B. Gantt Center for African-American Arts and Culture.","The Vivian D. and John H. Hewitt Collection contains 14 pieces of art created by 10 prominent Haitian artists dating from circa 1960 to 1985. The artists whose works reside in the collection are Luckner Lazard (1928-1998), Favrange Valcin (1947-2010), Luce Turnier (1924-1994), Hervé Télémaque (1937-2022), Jacques-Enguerrand Gourgue (1930-1996), Carlo Jean-Jacques (1943-1990), L. Janvier, Charles Obas (1927-1969), Alexandre Grégoire (1922-2001), and E. Paul.","The collection also contains materials that document the couple's collecting activities over the course of more than 50 years as well as the history of the artworks in their collection. These materials include correspondence belonging to Vivian D. and John H. Hewitt, publications such as exhibition catalogs, magazines, articles and newsletters, 63 books, newspaper clippings, auction lists, exhibition ephemera, brochures, typed manuscripts, maps, and two telephone directories.","Materials from this collection were cataloged in the Broward County Library catalog with the prefix \"HEW\".","The Vivian D. and John H. Hewitt Collection contains Haitian art and materials focusing on Black art, particulaly those representing the history and culture of Haiti.","AARLCC Special Collections","Hewitt, Vivian D.","Jacques Gourgue","Alexandre Gregoire","Carlo Jean-Jacques, 1943-1990","L. Janvier","Lucner Lazard, 1928-1998","Charles Obas, 1927-","Hervé Télémaque, 1937-","Luce Turnier, 1924-1994","Favrange Valcin, 1947-","The collection is primarily in English but includes materials in French, Haitian Creole, and German."],"unitid_tesim":["AARLCC.2004.7","/repositories/2/resources/48"],"normalized_date_ssm":["1942-2020"],"normalized_title_ssm":["Vivian D. and John H. Hewitt Collection, 1942-2020"],"collection_title_tesim":["Vivian D. and John H. Hewitt Collection, 1942-2020"],"collection_ssim":["Vivian D. and John H. Hewitt Collection, 1942-2020"],"repository_ssm":["AARLCC Special Collections"],"repository_ssim":["AARLCC Special Collections"],"acqinfo_ssim":["Vivian Davidson Hewitt donated the materials to the Broward County Library in memory of her husband, John H. Hewitt, Jr. in 2002 (Accession AARLCC-2004.7)."],"access_subjects_ssim":["African American art -- Collectors and collecting","Art, Haitian","African American librarians","African American librarians","Paintings","Correspondence","Exhibition catalogs","Clippings","Periodicals","Art"],"access_subjects_ssm":["African American art -- Collectors and collecting","Art, Haitian","African American librarians","African American librarians","Paintings","Correspondence","Exhibition catalogs","Clippings","Periodicals","Art"],"has_online_content_ssim":["false"],"extent_ssm":["4 Hollinger Boxes","14 Artwork","63 Books"],"extent_tesim":["4 Hollinger Boxes","14 Artwork","63 Books"],"genreform_ssim":["Paintings","Correspondence","Exhibition catalogs","Clippings","Periodicals","Art"],"date_range_isim":[1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"accessrestrict_html_tesm":["\u003cp\u003eThe Vivian D. and John H. Hewitt Collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The Vivian D. and John H. Hewitt Collection is open for research."],"altformavail_html_tesm":["\u003cp\u003e\u003ca href=\"https://digitalarchives.broward.org/digital/collection/jandvhewitt/search\" target=\"_blank\"\u003eView a selection of digitized materials from the Vivian D. and John H. Hewitt Collection in the Broward County Library Digital Archives.\u003c/a\u003e\u003c/p\u003e"],"altformavail_heading_ssm":["Digitized Materials"],"altformavail_tesim":["View a selection of digitized materials from the Vivian D. and John H. Hewitt Collection in the Broward County Library Digital Archives."],"bioghist_html_tesm":["\u003cp\u003eJohn Hamilton Hewitt Jr. and Vivian Davidson Hewitt married in December 1949 and collected art from the African Diaspora. Their art collection of over 500 pieces primarily contained African American and Haitian art. Portions of the collection that they amassed now reside at several major museums throughout the United States.\u003c/p\u003e\n","\u003cp\u003eJohn Hamilton Hewitt Jr. was born in 1924 in New York City, New York. He attended Harvard College and New York University where he obtained his Master's degree in 1949. Hewitt was an instructor for the Department of English and co-chairman for the Division of Humanities at Morehouse College in Atlanta. Hewitt also held the post of reporter for the New York Amsterdam News; later on he became a medical writer for the Medical Tribune, and served as an editor for both Hospital Practice and Emergency Medicine. Hewitt wrote various articles in publications such as the New York History, the Massachusetts Review, Afro-Americans in New York Life and History, and the International Review of African American Art. He was a member of the American Medical Writers Association. John Hewitt passed away on February 25, 2000.\u003c/p\u003e\n","\u003cp\u003eVivian Ann Davidson was born on February 17, 1920 in New Castle, Pennsylvania. She earned a Bachelor's degree in Education from Geneva College in 1943 and a M.S. degree in library science from Carnegie-Mellon University in Pittsburg, Pennsylvania in 1944. Vivian Hewitt worked as a librarian in Pittsburg and Atlanta, Georgia. She was the first black woman to serve as a librarian in the city of Pittsburgh. From 1963 to 1983, she was the chief librarian at the Carnegie Endowment for International Peace. Vivian was the first African American president of the Special Libraries Association (1978-1979). She was awarded the Distinguished Alumni Citation from the University of Pittsburgh-Carnegie Library School Alumni Association, Merit Award from Carnegie Mellon University, and the L.H.D. from Geneva College. In addition to being recognized by her alma maters, she was recognized by the American Library Association, and in 1984 she was inducted into the organization's Hall of Fame. In 2016, Queen Elizabeth II of Great Britain bestowed the title of Dame upon Hewitt for her work in the service of humanity. In 2017, Hewitt received an Honorary Doctor of Humane Letters degree at Carnegie Mellon University's 120th Commencement. She passed away on May 29, 2022.\u003c/p\u003e\n","\u003cp\u003eJohn and Vivian Hewitt had one son, John Hewitt III (1952-2022).\u003c/p\u003e\n","\u003cp\u003eThe Hewitts moved to New York in 1951. In the 1960s, the Hewitts collected primarily Haitian art. In the 1970s, the Hewitts began exhibiting their collection of art in their Sugar Hill, Harlem home and became enmeshed in New York's art community. J. Eugene Grigsby, Vivian Hewitt's cousin and internationally acclaimed artist, introduced the couple to many artists. At that time the couple began collecting art by African American artists as well.\u003c/p\u003e\n","\u003cp\u003eIn 1998, the Hewitts sold 58 of their major works to the Bank of America which resulted in a travelling exhibition of the pieces at 25 museums. In 2009, the Bank of America donated the collection to the Harvey B. Gantt Center for African-American Arts and Culture.\u003c/p\u003e\n","\u003cp\u003eIn 1998, Vivian Hewitt attended two fundraisers for the construction of the African American Research Library and Cultural Center (AARLCC) in Fort Lauderdale, Florida. In 2002, artwork from her collection was exhibited at AARLCC in \"Celebration and Vision: The Hewitt Collection of African-American Art.\" Also in 2002, Vivian Hewitt donated 14 pieces of Haitian art from their collection to the Broward County Library in memory of her husband, John H. Hewitt, Jr. Along with the art she also donated personal papers as well as books and other supporting materials. In 2022, in celebration of the 20th anniversary of the opening of the African American Research Library and Cultural Center, the library held an exhibit titled \"Collectors' Duet: The Lifelong Librarianship of Vivian D. Hewitt and Dorothy Porter Wesley.\"\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["John Hamilton Hewitt Jr. and Vivian Davidson Hewitt married in December 1949 and collected art from the African Diaspora. Their art collection of over 500 pieces primarily contained African American and Haitian art. Portions of the collection that they amassed now reside at several major museums throughout the United States.","John Hamilton Hewitt Jr. was born in 1924 in New York City, New York. He attended Harvard College and New York University where he obtained his Master's degree in 1949. Hewitt was an instructor for the Department of English and co-chairman for the Division of Humanities at Morehouse College in Atlanta. Hewitt also held the post of reporter for the New York Amsterdam News; later on he became a medical writer for the Medical Tribune, and served as an editor for both Hospital Practice and Emergency Medicine. Hewitt wrote various articles in publications such as the New York History, the Massachusetts Review, Afro-Americans in New York Life and History, and the International Review of African American Art. He was a member of the American Medical Writers Association. John Hewitt passed away on February 25, 2000.","Vivian Ann Davidson was born on February 17, 1920 in New Castle, Pennsylvania. She earned a Bachelor's degree in Education from Geneva College in 1943 and a M.S. degree in library science from Carnegie-Mellon University in Pittsburg, Pennsylvania in 1944. Vivian Hewitt worked as a librarian in Pittsburg and Atlanta, Georgia. She was the first black woman to serve as a librarian in the city of Pittsburgh. From 1963 to 1983, she was the chief librarian at the Carnegie Endowment for International Peace. Vivian was the first African American president of the Special Libraries Association (1978-1979). She was awarded the Distinguished Alumni Citation from the University of Pittsburgh-Carnegie Library School Alumni Association, Merit Award from Carnegie Mellon University, and the L.H.D. from Geneva College. In addition to being recognized by her alma maters, she was recognized by the American Library Association, and in 1984 she was inducted into the organization's Hall of Fame. In 2016, Queen Elizabeth II of Great Britain bestowed the title of Dame upon Hewitt for her work in the service of humanity. In 2017, Hewitt received an Honorary Doctor of Humane Letters degree at Carnegie Mellon University's 120th Commencement. She passed away on May 29, 2022.","John and Vivian Hewitt had one son, John Hewitt III (1952-2022).","The Hewitts moved to New York in 1951. In the 1960s, the Hewitts collected primarily Haitian art. In the 1970s, the Hewitts began exhibiting their collection of art in their Sugar Hill, Harlem home and became enmeshed in New York's art community. J. Eugene Grigsby, Vivian Hewitt's cousin and internationally acclaimed artist, introduced the couple to many artists. At that time the couple began collecting art by African American artists as well.","In 1998, the Hewitts sold 58 of their major works to the Bank of America which resulted in a travelling exhibition of the pieces at 25 museums. In 2009, the Bank of America donated the collection to the Harvey B. Gantt Center for African-American Arts and Culture.","In 1998, Vivian Hewitt attended two fundraisers for the construction of the African American Research Library and Cultural Center (AARLCC) in Fort Lauderdale, Florida. In 2002, artwork from her collection was exhibited at AARLCC in \"Celebration and Vision: The Hewitt Collection of African-American Art.\" Also in 2002, Vivian Hewitt donated 14 pieces of Haitian art from their collection to the Broward County Library in memory of her husband, John H. Hewitt, Jr. Along with the art she also donated personal papers as well as books and other supporting materials. In 2022, in celebration of the 20th anniversary of the opening of the African American Research Library and Cultural Center, the library held an exhibit titled \"Collectors' Duet: The Lifelong Librarianship of Vivian D. Hewitt and Dorothy Porter Wesley.\""],"prefercite_html_tesm":["\u003cp\u003eThe Vivian D. and John H. Hewitt Collection, African-American Research Library and Cultural Center Special Collections, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["The Vivian D. and John H. Hewitt Collection, African-American Research Library and Cultural Center Special Collections, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThe Vivian D. and John H. Hewitt Collection received file level processing by Afua Ferdnance and Emily Calderon in 2021. Additional materials were processed at the item level by Erin Purdy in April 2025. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The Vivian D. and John H. Hewitt Collection received file level processing by Afua Ferdnance and Emily Calderon in 2021. Additional materials were processed at the item level by Erin Purdy in April 2025. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection."],"relatedmaterial_html_tesm":["\u003cp\u003eThe John and Vivian Hewitt Collection of African-American Art, Harvey B. Gantt Center for African-American Arts and Culture.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The John and Vivian Hewitt Collection of African-American Art, Harvey B. Gantt Center for African-American Arts and Culture."],"scopecontent_html_tesm":["\u003cp\u003eThe Vivian D. and John H. Hewitt Collection contains 14 pieces of art created by 10 prominent Haitian artists dating from circa 1960 to 1985. The artists whose works reside in the collection are Luckner Lazard (1928-1998), Favrange Valcin (1947-2010), Luce Turnier (1924-1994), Herv\u0026#xE9; T\u0026#xE9;l\u0026#xE9;maque (1937-2022), Jacques-Enguerrand Gourgue (1930-1996), Carlo Jean-Jacques (1943-1990), L. Janvier, Charles Obas (1927-1969), Alexandre Gr\u0026#xE9;goire (1922-2001), and E. Paul.\u003c/p\u003e\n","\u003cp\u003eThe collection also contains materials that document the couple's collecting activities over the course of more than 50 years as well as the history of the artworks in their collection. These materials include correspondence belonging to Vivian D. and John H. Hewitt, publications such as exhibition catalogs, magazines, articles and newsletters, 63 books, newspaper clippings, auction lists, exhibition ephemera, brochures, typed manuscripts, maps, and two telephone directories.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Vivian D. and John H. Hewitt Collection contains 14 pieces of art created by 10 prominent Haitian artists dating from circa 1960 to 1985. The artists whose works reside in the collection are Luckner Lazard (1928-1998), Favrange Valcin (1947-2010), Luce Turnier (1924-1994), Hervé Télémaque (1937-2022), Jacques-Enguerrand Gourgue (1930-1996), Carlo Jean-Jacques (1943-1990), L. Janvier, Charles Obas (1927-1969), Alexandre Grégoire (1922-2001), and E. Paul.","The collection also contains materials that document the couple's collecting activities over the course of more than 50 years as well as the history of the artworks in their collection. These materials include correspondence belonging to Vivian D. and John H. Hewitt, publications such as exhibition catalogs, magazines, articles and newsletters, 63 books, newspaper clippings, auction lists, exhibition ephemera, brochures, typed manuscripts, maps, and two telephone directories."],"separatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://broward.ent.sirsi.net/client/en_US/default/search/results?qu=HEW\u0026amp;qf=LOCATION%09Shelf+Location%091%3AAF-SPC%09AARLCC+Special+Collections\" target=\"_blank\"\u003eMaterials from this collection were cataloged in the Broward County Library catalog with the prefix \"HEW\".\u003c/a\u003e\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Access the Books"],"separatedmaterial_tesim":["Materials from this collection were cataloged in the Broward County Library catalog with the prefix \"HEW\"."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f20256a848bf64fa36b26feb824aee7d\"\u003eThe Vivian D. and John H. Hewitt Collection contains Haitian art and materials focusing on Black art, particulaly those representing the history and culture of Haiti.\u003c/abstract\u003e"],"abstract_tesim":["The Vivian D. and John H. Hewitt Collection contains Haitian art and materials focusing on Black art, particulaly those representing the history and culture of Haiti."],"names_ssim":["AARLCC Special Collections","Hewitt, Vivian D.","Jacques Gourgue","Alexandre Gregoire","Carlo Jean-Jacques, 1943-1990","L. Janvier","Lucner Lazard, 1928-1998","Charles Obas, 1927-","Hervé Télémaque, 1937-","Luce Turnier, 1924-1994","Favrange Valcin, 1947-"],"corpname_ssim":["AARLCC Special Collections"],"names_coll_ssim":["Hewitt, Vivian D."],"persname_ssim":["Hewitt, Vivian D.","Jacques Gourgue","Alexandre Gregoire","Carlo Jean-Jacques, 1943-1990","L. Janvier","Lucner Lazard, 1928-1998","Charles Obas, 1927-","Hervé Télémaque, 1937-","Luce Turnier, 1924-1994","Favrange Valcin, 1947-"],"language_ssim":["The collection is primarily in English but includes materials in French, Haitian Creole, and German."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":157,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1876455832185470976,"_root_":"edc1f8792c912192f7c15d4d","timestamp":"2026-09-16T03:02:13.023Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/edc1f8792c912192f7c15d4d_aspace_31737fedc0cd65cb111a2398b3e9c8fc"}},{"id":"763de249ff7d9b630424e493_aspace_363ba26f157acb3f0e2c70b2a0f857c2","type":"Item","attributes":{"title":"Woman with bow tied tight around neck. G.H. Loomis Tremont Row. Boston. Carte de visite #1169., Undated","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_363ba26f157acb3f0e2c70b2a0f857c2#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eDigital Archives Identification: ARL_202117_IMG_0377\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_363ba26f157acb3f0e2c70b2a0f857c2#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_363ba26f157acb3f0e2c70b2a0f857c2","ref_ssm":["aspace_363ba26f157acb3f0e2c70b2a0f857c2","aspace_363ba26f157acb3f0e2c70b2a0f857c2"],"id":"763de249ff7d9b630424e493_aspace_363ba26f157acb3f0e2c70b2a0f857c2","title_filing_ssi":"Woman with bow tied tight around neck. G.H. Loomis Tremont Row. Boston. Carte de visite #1169.","title_ssm":["Woman with bow tied tight around neck. G.H. Loomis Tremont Row. Boston. Carte de visite #1169."],"title_tesim":["Woman with bow tied tight around neck. G.H. Loomis Tremont Row. Boston. Carte de visite #1169."],"unitdate_inclusive_ssm":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman with bow tied tight around neck. G.H. Loomis Tremont Row. Boston. Carte de visite #1169., Undated"],"text":["Woman with bow tied tight around neck. G.H. Loomis Tremont Row. Boston. Carte de visite #1169., Undated","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Women","/repositories/2/archival_objects/5413","box 9","Digital Archives Identification: ARL_202117_IMG_0377"],"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/5413"],"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":384,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"containers_ssim":["box 9"],"scopecontent_html_tesm":["\u003cp\u003eDigital Archives Identification: ARL_202117_IMG_0377\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Digital Archives Identification: ARL_202117_IMG_0377"],"_nest_path_":"/components#0/components#382","_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_363ba26f157acb3f0e2c70b2a0f857c2"}},{"id":"18ce43a3c782b797db9fa781_aspace_178569","type":"Item","attributes":{"title":"[Woman with broom sitting on porch]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178569#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178569#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_178569","ref_ssm":["aspace_178569","aspace_178569"],"id":"18ce43a3c782b797db9fa781_aspace_178569","title_filing_ssi":"[Woman with broom sitting on porch]","title_ssm":["[Woman with broom sitting on porch]"],"title_tesim":["[Woman with broom sitting on porch]"],"normalized_title_ssm":["[Woman with broom sitting on porch]"],"text":["[Woman with broom sitting on porch]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel - Canada","Item 39","/repositories/2/archival_objects/83159","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179828","18ce43a3c782b797db9fa781_aspace_178530"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel - Canada"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel - Canada"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 39","/repositories/2/archival_objects/83159"],"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":1389,"parent_access_restrict_tesm":["Fragile materials served by appointment. Gloves required."],"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"scopecontent_html_tesm":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Black and white photograph."],"_nest_path_":"/components#24/components#1/components#38","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_178530","_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_178569"}},{"id":"18ce43a3c782b797db9fa781_aspace_178926","type":"Item","attributes":{"title":"[Woman with child]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178926#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178926#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_178926","ref_ssm":["aspace_178926","aspace_178926"],"id":"18ce43a3c782b797db9fa781_aspace_178926","title_filing_ssi":"[Woman with child]","title_ssm":["[Woman with child]"],"title_tesim":["[Woman with child]"],"normalized_title_ssm":["[Woman with child]"],"text":["[Woman with child]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Homeward from California, Colorado, etc.","Item 2","/repositories/2/archival_objects/81607","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179825","18ce43a3c782b797db9fa781_aspace_178924"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Homeward from California, Colorado, etc."],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Homeward from California, Colorado, etc."],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 2","/repositories/2/archival_objects/81607"],"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":1130,"parent_access_restrict_tesm":["Fragile materials served by appointment. Gloves required."],"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"scopecontent_html_tesm":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Black and white photograph."],"_nest_path_":"/components#22/components#0/components#1","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_178924","_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_178926"}},{"id":"18ce43a3c782b797db9fa781_aspace_179715","type":"Item","attributes":{"title":"[Woman with child]","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179715#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179715","ref_ssm":["aspace_179715","aspace_179715"],"id":"18ce43a3c782b797db9fa781_aspace_179715","title_filing_ssi":"[Woman with child]","title_ssm":["[Woman with child]"],"title_tesim":["[Woman with child]"],"normalized_title_ssm":["[Woman with child]"],"text":["[Woman with child]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Misc.","Item 68","/repositories/2/archival_objects/83565"],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179901","18ce43a3c782b797db9fa781_aspace_179603"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Misc."],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Family Pictures","Family Pictures - Misc."],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 68","/repositories/2/archival_objects/83565"],"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":2303,"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#33/components#1/components#67","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179603","_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_179715"}},{"id":"763de249ff7d9b630424e493_aspace_d76b25af668fe63f03bf8d3f77a132c3","type":"Item","attributes":{"title":"Woman with cross necklace. Back reads \"Uncle Charlie from [Pence?] Cabinet card #1273., Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_d76b25af668fe63f03bf8d3f77a132c3#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_d76b25af668fe63f03bf8d3f77a132c3","ref_ssm":["aspace_d76b25af668fe63f03bf8d3f77a132c3","aspace_d76b25af668fe63f03bf8d3f77a132c3"],"id":"763de249ff7d9b630424e493_aspace_d76b25af668fe63f03bf8d3f77a132c3","title_filing_ssi":"Woman with cross necklace. Back reads \"Uncle Charlie from [Pence?] Cabinet card #1273.","title_ssm":["Woman with cross necklace. Back reads \"Uncle Charlie from [Pence?] Cabinet card #1273."],"title_tesim":["Woman with cross necklace. Back reads \"Uncle Charlie from [Pence?] Cabinet card #1273."],"unitdate_inclusive_ssm":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman with cross necklace. Back reads \"Uncle Charlie from [Pence?] Cabinet card #1273., Undated"],"text":["Woman with cross necklace. Back reads \"Uncle Charlie from [Pence?] Cabinet card #1273., Undated","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Women","/repositories/2/archival_objects/5442","box 9"],"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/5442"],"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":413,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"containers_ssim":["box 9"],"_nest_path_":"/components#0/components#411","_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_d76b25af668fe63f03bf8d3f77a132c3"}},{"id":"763de249ff7d9b630424e493_aspace_cc574bbcf200ad3a7bc77b745e3dace9","type":"Item","attributes":{"title":"Woman with curly hair wears dark colored jacket. Photographer and studio unknown. Photograph #1068., Undated","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_cc574bbcf200ad3a7bc77b745e3dace9#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eARL_202117_IMG_0351\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_cc574bbcf200ad3a7bc77b745e3dace9#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_cc574bbcf200ad3a7bc77b745e3dace9","ref_ssm":["aspace_cc574bbcf200ad3a7bc77b745e3dace9","aspace_cc574bbcf200ad3a7bc77b745e3dace9"],"id":"763de249ff7d9b630424e493_aspace_cc574bbcf200ad3a7bc77b745e3dace9","title_filing_ssi":"Woman with curly hair wears dark colored jacket. Photographer and studio unknown. Photograph #1068.","title_ssm":["Woman with curly hair wears dark colored jacket. Photographer and studio unknown. Photograph #1068."],"title_tesim":["Woman with curly hair wears dark colored jacket. Photographer and studio unknown. Photograph #1068."],"unitdate_inclusive_ssm":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman with curly hair wears dark colored jacket. Photographer and studio unknown. Photograph #1068., Undated"],"text":["Woman with curly hair wears dark colored jacket. Photographer and studio unknown. Photograph #1068., Undated","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Women","/repositories/2/archival_objects/4925","box 8","ARL_202117_IMG_0351"],"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/4925"],"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":356,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"containers_ssim":["box 8"],"scopecontent_html_tesm":["\u003cp\u003eARL_202117_IMG_0351\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["ARL_202117_IMG_0351"],"_nest_path_":"/components#0/components#354","_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_cc574bbcf200ad3a7bc77b745e3dace9"}},{"id":"763de249ff7d9b630424e493_aspace_99d439b0a98a01cafb6b5df3000cb388","type":"Item","attributes":{"title":"Woman with dark colored garment. Leonard, 227 Jefferson Avenue (near corner Randolph) Detroit, Michigan. Cabinet card #307., Undated","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_99d439b0a98a01cafb6b5df3000cb388#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eDigital Archives Identifier: ARL_202117_IMG_0055\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/763de249ff7d9b630424e493_aspace_99d439b0a98a01cafb6b5df3000cb388#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_99d439b0a98a01cafb6b5df3000cb388","ref_ssm":["aspace_99d439b0a98a01cafb6b5df3000cb388","aspace_99d439b0a98a01cafb6b5df3000cb388"],"id":"763de249ff7d9b630424e493_aspace_99d439b0a98a01cafb6b5df3000cb388","title_filing_ssi":"Woman with dark colored garment. Leonard, 227 Jefferson Avenue (near corner Randolph) Detroit, Michigan. Cabinet card #307.","title_ssm":["Woman with dark colored garment. Leonard, 227 Jefferson Avenue (near corner Randolph) Detroit, Michigan. Cabinet card #307."],"title_tesim":["Woman with dark colored garment. Leonard, 227 Jefferson Avenue (near corner Randolph) Detroit, Michigan. Cabinet card #307."],"unitdate_inclusive_ssm":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman with dark colored garment. Leonard, 227 Jefferson Avenue (near corner Randolph) Detroit, Michigan. Cabinet card #307., Undated"],"text":["Woman with dark colored garment. Leonard, 227 Jefferson Avenue (near corner Randolph) Detroit, Michigan. Cabinet card #307., Undated","Love-Thornell Collection of Black American Photographs, Circa 1850-1950","Photographs of Women","/repositories/2/archival_objects/4415","box 2","Digital Archives Identifier: ARL_202117_IMG_0055"],"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/4415"],"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":56,"parent_access_restrict_tesm":["The Love-Thornell Collection of Black American Photographs is open for research."],"containers_ssim":["box 2"],"scopecontent_html_tesm":["\u003cp\u003eDigital Archives Identifier: ARL_202117_IMG_0055\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Digital Archives Identifier: ARL_202117_IMG_0055"],"_nest_path_":"/components#0/components#54","_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_99d439b0a98a01cafb6b5df3000cb388"}},{"id":"494d175c32d55745f7fddbc7_aspace_4348","type":"Item","attributes":{"title":"Woman with dog, standing in yard, Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/494d175c32d55745f7fddbc7_aspace_4348#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_4348","ref_ssm":["aspace_4348","aspace_4348"],"id":"494d175c32d55745f7fddbc7_aspace_4348","title_filing_ssi":"Woman with dog, standing in yard","title_ssm":["Woman with dog, standing in yard"],"title_tesim":["Woman with dog, standing in yard"],"unitdate_other_ssim":["Undated"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Woman with dog, standing in yard, Undated"],"text":["Woman with dog, standing in yard, 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/11702","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/11702"],"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":46,"parent_access_restrict_tesm":["The entire collection is open for research."],"containers_ssim":["box 1","folder 3"],"_nest_path_":"/components#0/components#2/components#23","_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. 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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_4348"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Claude Pepper Papers, 1900-1989","value":"Claude Pepper Papers, 1900-1989","hits":38466},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Claude+Pepper+Papers%2C+1900-1989\u0026view=compact"}},{"attributes":{"label":"Tom Brokaw collection, 1941-1997, bulk 1998-2007","value":"Tom Brokaw collection, 1941-1997, bulk 1998-2007","hits":8744},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Tom+Brokaw+collection%2C+1941-1997%2C+bulk+1998-2007\u0026view=compact"}},{"attributes":{"label":"Sam Gibbons collection, 1940-2000, 1996, bulk 1960-1996","value":"Sam Gibbons collection, 1940-2000, 1996, bulk 1960-1996","hits":8167},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Sam+Gibbons+collection%2C+1940-2000%2C+1996%2C+bulk+1960-1996\u0026view=compact"}},{"attributes":{"label":"University Communications Collection, 1940-2013, bulk 1990-2013","value":"University Communications Collection, 1940-2013, bulk 1990-2013","hits":8132},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=University+Communications+Collection%2C+1940-2013%2C+bulk+1990-2013\u0026view=compact"}},{"attributes":{"label":"Degen Playbill Collection, 1895-2023","value":"Degen Playbill Collection, 1895-2023","hits":7504},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Degen+Playbill+Collection%2C+1895-2023\u0026view=compact"}},{"attributes":{"label":"Gandy Commercial and Aerial Photography collection, 1950-2010, Date acquired: 12/01/2010","value":"Gandy Commercial and Aerial Photography collection, 1950-2010, Date acquired: 12/01/2010","hits":6282},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Gandy+Commercial+and+Aerial+Photography+collection%2C+1950-2010%2C+Date+acquired%3A+12%2F01%2F2010\u0026view=compact"}},{"attributes":{"label":"William Knight Zewadski Classical movie stills collection, 1860-2007, Date acquired: 00/00/2018","value":"William Knight Zewadski Classical movie stills collection, 1860-2007, Date acquired: 00/00/2018","hits":6121},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=William+Knight+Zewadski+Classical+movie+stills+collection%2C+1860-2007%2C+Date+acquired%3A+00%2F00%2F2018\u0026view=compact"}},{"attributes":{"label":"Mark Wallheiser Photographic Collection, 1980-2024","value":"Mark Wallheiser Photographic Collection, 1980-2024","hits":5346},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Mark+Wallheiser+Photographic+Collection%2C+1980-2024\u0026view=compact"}},{"attributes":{"label":"Harrison \"Buzz\" Price papers, 1948-2006","value":"Harrison \"Buzz\" Price papers, 1948-2006","hits":4992},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Harrison+%22Buzz%22+Price+papers%2C+1948-2006\u0026view=compact"}},{"attributes":{"label":"Vertical files, 1900-2005","value":"Vertical files, 1900-2005","hits":4915},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Vertical+files%2C+1900-2005\u0026view=compact"}},{"attributes":{"label":"Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","value":"Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","hits":4821},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Hampton+Dunn+collection%2C+1916-2002%2C+Date+acquired%3A+00%2F00%2F1981%2C+bulk+1960-2002\u0026view=compact"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/collection_ssim.json?facet.sort=count\u0026view=compact"}},{"type":"facet","id":"creator_ssim","attributes":{"label":"Creator","items":[{"attributes":{"label":"Henry Clay and Bock \u0026 Co., Ltd. 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