{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65100\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65099\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65101\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65767\u0026view=compact"},"meta":{"pages":{"current_page":65100,"next_page":65101,"prev_page":65099,"total_pages":65767,"limit_value":10,"offset_value":650990,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"f3e8d364d52ea1edeca7f6e6_aspace_71613","type":"File","attributes":{"title":"Women Who Make Books Conference, 1992","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f3e8d364d52ea1edeca7f6e6_aspace_71613#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_71613","ref_ssm":["aspace_71613","aspace_71613"],"id":"f3e8d364d52ea1edeca7f6e6_aspace_71613","title_filing_ssi":"Women Who Make Books Conference","title_ssm":["Women Who Make Books Conference"],"title_tesim":["Women Who Make Books Conference"],"unitdate_other_ssim":["1992"],"normalized_date_ssm":["1992"],"normalized_title_ssm":["Women Who Make Books Conference, 1992"],"text":["Women Who Make Books Conference, 1992","Susan King and Paradise Press Collection, 1908-2009, bulk 1967-2009","Over-Sized Items, 1972-2009, Undated.","Folder 7","/repositories/4/archival_objects/5460","box 29","folder 7"],"component_level_isim":[2],"parent_ids_ssim":["f3e8d364d52ea1edeca7f6e6","f3e8d364d52ea1edeca7f6e6_aspace_71560"],"parent_unittitles_ssm":["Susan King and Paradise Press Collection, 1908-2009, bulk 1967-2009","Over-Sized Items, 1972-2009, Undated."],"parent_unittitles_tesim":["Susan King and Paradise Press Collection, 1908-2009, bulk 1967-2009","Over-Sized Items, 1972-2009, Undated."],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["Folder 7","/repositories/4/archival_objects/5460"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Susan King and Paradise Press Collection, 1908-2009, bulk 1967-2009"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":693,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"containers_ssim":["box 29","folder 7"],"_nest_path_":"/components#4/components#51","_nest_parent_":"f3e8d364d52ea1edeca7f6e6_aspace_71560","_root_":"f3e8d364d52ea1edeca7f6e6","_version_":1870857853659512832,"timestamp":"2026-07-16T08:04:44.674Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f3e8d364d52ea1edeca7f6e6","title_ssm":["Susan King and Paradise Press Collection"],"title_tesim":["Susan King and Paradise Press Collection"],"ead_ssi":"f3e8d364d52ea1edeca7f6e6","unitdate_ssm":["1908-2009","1967-2009"],"unitdate_bulk_ssim":["1967-2009"],"unitdate_inclusive_ssm":["1908-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.059","/repositories/4/resources/23"],"text":["SC.059","/repositories/4/resources/23","Susan King and Paradise Press Collection, 1908-2009, bulk 1967-2009","The entire collection is open for research.","The collection is divided into five series and is organized by type of materials, most of which relate to book arts.","Susan Elizabeth King was born in Lexington, Kentucky, in 1947. She received her BA in Sculpture from the University of Kentucky in 1971, and earned her MA in Ceramics from New Mexico State University in 1973. King moved to Los Angeles and continued her studies at the Feminist Studio Workshop, 1973-1975, where she began to make books. She founded Paradise Press in 1975, where she published her own artist books, as well as the works of others. King has also lectured, taught workshops, and has been an artist-in-residence at numerous universities and art centers around the country. She has been a prolific author and artist, having received numerous grants and awards, with her work featured extensively in art collections and exhibitions across the U.S. and Europe. One of her most well-received books, \"Treading the Maze: An Artist's Journey Through Breast Cancer,\" details her personal experience and triumph over the awful disease. King now divides her time between Los Angeles and rural Kentucky.","Processed by John Settle; finding aid prepared by John Settle.","Folder contents were kept intact, while some rearrangement of folders was conducted to group similar materials together. All paper materials have been placed in acid free pH neutral folders and stored in archival containers. Larger artwork and posters were also placed in acid free folders but are stored in archival flat files. Paper clips and staples have been removed and replaced with plastic clips. Photographs, transparencies, and some artwork have been individually sleeved.","Books collected by Susan E. King can also be found by performing a series search for \"Susan King Library\" in the   Online Catalog .","\nSusan E. King's personal website can be found by clicking  here .","\nOther collections concerning book arts include  Book Arts Ephemera Collection ,  Sol \u0026 Sadie Malkoff Papers , and  Walter and Dorothy Donnelly Family Collection.","Series I: Correspondence, 1944-2009, Undated, contains mostly letters and postcards sent between King and her many colleagues, clients, and friends.","\nSeries II: Publications, 1976-2006, Undated, contains working drafts, binding trials, printing plates, and other materials directly related to King's published work.","\nSeries III: Papers, 1908-2009, Undated, contains materials related to King's Paradise Press printing company, her personal documents, such as journals, scrapbooks, and financial records, as well as files on organizations, research, and teaching materials.","\nSeries IV: Exhibits, 1977-2009, Undated, contains materials related to the exhibition of King's work at various locations.","\nSeries V: Over-Sized Items, 1972-2009, Undated, contains posters, broadsides, artwork, and some materials related to King's published work.","Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.","Created by Susan E. King, the collection contains a wide variety of materials, primarily related to her career as a book artist, including manuscripts, printing materials, and correspondence.","UCF Special Collections","English"],"unitid_tesim":["SC.059","/repositories/4/resources/23"],"normalized_date_ssm":["1908-2009, bulk 1967-2009"],"normalized_title_ssm":["Susan King and Paradise Press Collection, 1908-2009, bulk 1967-2009"],"collection_title_tesim":["Susan King and Paradise Press Collection, 1908-2009, bulk 1967-2009"],"collection_ssim":["Susan King and Paradise Press Collection, 1908-2009, bulk 1967-2009"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"access_terms_ssm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["Susan King donated these materials to the University of Central Florida Libraries, Special Collections and University Archives in 2005 (CFM2005_07)."],"has_online_content_ssim":["false"],"extent_ssm":["34.75 Linear Feet 30 Boxes, 27 Flat Files"],"extent_tesim":["34.75 Linear Feet 30 Boxes, 27 Flat Files"],"date_range_isim":[1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into five series and is organized by type of materials, most of which relate to book arts.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is divided into five series and is organized by type of materials, most of which relate to book arts."],"bioghist_html_tesm":["\u003cp\u003eSusan Elizabeth King was born in Lexington, Kentucky, in 1947. She received her BA in Sculpture from the University of Kentucky in 1971, and earned her MA in Ceramics from New Mexico State University in 1973. King moved to Los Angeles and continued her studies at the Feminist Studio Workshop, 1973-1975, where she began to make books. She founded Paradise Press in 1975, where she published her own artist books, as well as the works of others. King has also lectured, taught workshops, and has been an artist-in-residence at numerous universities and art centers around the country. She has been a prolific author and artist, having received numerous grants and awards, with her work featured extensively in art collections and exhibitions across the U.S. and Europe. One of her most well-received books, \"Treading the Maze: An Artist's Journey Through Breast Cancer,\" details her personal experience and triumph over the awful disease. King now divides her time between Los Angeles and rural Kentucky.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Susan Elizabeth King was born in Lexington, Kentucky, in 1947. She received her BA in Sculpture from the University of Kentucky in 1971, and earned her MA in Ceramics from New Mexico State University in 1973. King moved to Los Angeles and continued her studies at the Feminist Studio Workshop, 1973-1975, where she began to make books. She founded Paradise Press in 1975, where she published her own artist books, as well as the works of others. King has also lectured, taught workshops, and has been an artist-in-residence at numerous universities and art centers around the country. She has been a prolific author and artist, having received numerous grants and awards, with her work featured extensively in art collections and exhibitions across the U.S. and Europe. One of her most well-received books, \"Treading the Maze: An Artist's Journey Through Breast Cancer,\" details her personal experience and triumph over the awful disease. King now divides her time between Los Angeles and rural Kentucky."],"prefercite_html_tesm":["\u003cp\u003eSusan King and Paradise Press Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Susan King and Paradise Press Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eProcessed by John Settle; finding aid prepared by John Settle.\u003c/p\u003e","\u003cp\u003eFolder contents were kept intact, while some rearrangement of folders was conducted to group similar materials together. All paper materials have been placed in acid free pH neutral folders and stored in archival containers. Larger artwork and posters were also placed in acid free folders but are stored in archival flat files. Paper clips and staples have been removed and replaced with plastic clips. Photographs, transparencies, and some artwork have been individually sleeved.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by John Settle; finding aid prepared by John Settle.","Folder contents were kept intact, while some rearrangement of folders was conducted to group similar materials together. All paper materials have been placed in acid free pH neutral folders and stored in archival containers. Larger artwork and posters were also placed in acid free folders but are stored in archival flat files. Paper clips and staples have been removed and replaced with plastic clips. Photographs, transparencies, and some artwork have been individually sleeved."],"relatedmaterial_html_tesm":["\u003cp\u003eBooks collected by Susan E. King can also be found by performing a series search for \"Susan King Library\" in the  \u003cextref href=\"https://library.ucf.edu\"\u003eOnline Catalog\u003c/extref\u003e.\u003c/p\u003e\n","\u003cp\u003e\nSusan E. King's personal website can be found by clicking \u003cextref href=\"http://susankingart.work/\"\u003ehere\u003c/extref\u003e.\u003c/p\u003e\n","\u003cp\u003e\nOther collections concerning book arts include \u003cextref href=\"http://purl.flvc.org/UCF/EAD/CFM2008-07\"\u003eBook Arts Ephemera Collection\u003c/extref\u003e, \u003cextref href=\"http://purl.flvc.org/UCF/EAD/CFM1999-01\"\u003eSol \u0026amp; Sadie Malkoff Papers\u003c/extref\u003e, and \u003cextref href=\"http://purl.flvc.org/UCF/EAD/CFM1999-08\"\u003eWalter and Dorothy Donnelly Family Collection.\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Books collected by Susan E. King can also be found by performing a series search for \"Susan King Library\" in the   Online Catalog .","\nSusan E. King's personal website can be found by clicking  here .","\nOther collections concerning book arts include  Book Arts Ephemera Collection ,  Sol \u0026 Sadie Malkoff Papers , and  Walter and Dorothy Donnelly Family Collection."],"scopecontent_html_tesm":["\u003cp\u003eSeries I: Correspondence, 1944-2009, Undated, contains mostly letters and postcards sent between King and her many colleagues, clients, and friends.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: Publications, 1976-2006, Undated, contains working drafts, binding trials, printing plates, and other materials directly related to King's published work.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Papers, 1908-2009, Undated, contains materials related to King's Paradise Press printing company, her personal documents, such as journals, scrapbooks, and financial records, as well as files on organizations, research, and teaching materials.\u003c/p\u003e\n","\u003cp\u003e\nSeries IV: Exhibits, 1977-2009, Undated, contains materials related to the exhibition of King's work at various locations.\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Over-Sized Items, 1972-2009, Undated, contains posters, broadsides, artwork, and some materials related to King's published work.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Series I: Correspondence, 1944-2009, Undated, contains mostly letters and postcards sent between King and her many colleagues, clients, and friends.","\nSeries II: Publications, 1976-2006, Undated, contains working drafts, binding trials, printing plates, and other materials directly related to King's published work.","\nSeries III: Papers, 1908-2009, Undated, contains materials related to King's Paradise Press printing company, her personal documents, such as journals, scrapbooks, and financial records, as well as files on organizations, research, and teaching materials.","\nSeries IV: Exhibits, 1977-2009, Undated, contains materials related to the exhibition of King's work at various locations.","\nSeries V: Over-Sized Items, 1972-2009, Undated, contains posters, broadsides, artwork, and some materials related to King's published work."],"userestrict_html_tesm":["\u003cp\u003eUnpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_2e285770c776a9a331dd80559ae1171e\" label=\"Abstract\"\u003eCreated by Susan E. King, the collection contains a wide variety of materials, primarily related to her career as a book artist, including manuscripts, printing materials, and correspondence.\u003c/abstract\u003e"],"abstract_tesim":["Created by Susan E. King, the collection contains a wide variety of materials, primarily related to her career as a book artist, including manuscripts, printing materials, and correspondence."],"names_ssim":["UCF Special Collections"],"corpname_ssim":["UCF Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":693,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857853659512832,"_root_":"f3e8d364d52ea1edeca7f6e6","timestamp":"2026-07-16T08:04:44.674Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/f3e8d364d52ea1edeca7f6e6_aspace_71613"}},{"id":"256e771e3cc0782aac349f80_aspace_4b2296f958f554c199fbc351124f01cc","type":"File","attributes":{"title":"Women Who Rock! Issue #1, Summer 2014","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/256e771e3cc0782aac349f80_aspace_4b2296f958f554c199fbc351124f01cc#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_4b2296f958f554c199fbc351124f01cc","ref_ssm":["aspace_4b2296f958f554c199fbc351124f01cc","aspace_4b2296f958f554c199fbc351124f01cc"],"id":"256e771e3cc0782aac349f80_aspace_4b2296f958f554c199fbc351124f01cc","title_filing_ssi":"Women Who Rock! Issue #1 ","title_ssm":["Women Who Rock! Issue #1 "],"title_tesim":["Women Who Rock! Issue #1 "],"unitdate_other_ssim":["Summer 2014"],"normalized_date_ssm":["Summer 2014"],"normalized_title_ssm":["Women Who Rock! Issue #1, Summer 2014"],"text":["Women Who Rock! Issue #1, Summer 2014","Zine Collection, 1973-2019","Riot Grrrl Zine Collection, 1989-1996","Zines from Other Creators","/repositories/2/archival_objects/29219","Zines.","Feminism.","Punk rock music.","box 1","folder 124"],"component_level_isim":[3],"parent_ids_ssim":["256e771e3cc0782aac349f80","256e771e3cc0782aac349f80_aspace_17302","256e771e3cc0782aac349f80_aspace_17943"],"parent_unittitles_ssm":["Zine Collection, 1973-2019","Riot Grrrl Zine Collection, 1989-1996","Zines from Other Creators"],"parent_unittitles_tesim":["Zine Collection, 1973-2019","Riot Grrrl Zine Collection, 1989-1996","Zines from Other Creators"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/2/archival_objects/29219"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"collection_ssim":["Zine Collection, 1973-2019"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":83,"parent_access_restrict_tesm":["The collection is open for use."],"date_range_isim":[2014],"geogname_ssim":["Zines.","Feminism.","Punk rock music."],"geogname_ssm":["Zines.","Feminism.","Punk rock music."],"places_ssim":["Zines.","Feminism.","Punk rock music."],"containers_ssim":["box 1","folder 124"],"_nest_path_":"/components#0/components#2/components#52","_nest_parent_":"256e771e3cc0782aac349f80_aspace_17943","_root_":"256e771e3cc0782aac349f80","_version_":1870843569479090176,"timestamp":"2026-07-16T04:17:42.144Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"256e771e3cc0782aac349f80","title_ssm":["Zine Collection"],"title_tesim":["Zine Collection"],"ead_ssi":"256e771e3cc0782aac349f80","unitdate_ssm":["1973-2019"],"unitdate_inclusive_ssm":["1973-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["02/01/26","/repositories/2/resources/6"],"text":["02/01/26","/repositories/2/resources/6","Zine Collection, 1973-2019","Rape.","Rape victims.","Rape in art.","Sexual abuse.","Sexual assault","Sexual consent.","Lesbian and gay studies","Transgender life","Riot grrrl movement.","Zines.","Feminism.","Feminist music.","Feminist art criticism.","Activist art","The collection is open for use.","Organized in 7 series: Series 1, Riot Grrrl Zine Collection, 1989-1996; Series 2, Southwest Florida Zine Collection, 2011-Present; Series 3, Non-Collective and Unaffiliated Creators, 1970-2018; Series 4, \"Rape Culture: Zines and Artists' Books\" Exhibition-Related Materials, Spring 2018; Series 5, \"Rape Culture: Zines and Artists' Books\" Large Materials, 2013-2016; Series 6, Non-Collectives and Unaffiliated Creators Part 2, 1920-Present; Series 7, Contemporary American Collectives and Creators, 2019 - 2020.","The Zine Collection includes Riot Grrrl zines, which is an artist's collective formerly based in Olympia WA with roots in the punk/grunge music scene and covers topics such as feminism, the reclaimation of derogatory language, racism, physical assult and rape, LGBT issues and anarchism; zines that were created by Southwest Florida artists and collectives which features both homemade zines and professionally printed materials covering topics ranging from feminism to witchcraft to home block printing; and the last part of the collection is comprised of zines focused on the topics of rape culture and feminism, but are not a part of any collective or created in Southwest Florida, and they are examples of many types of home-publications as well as comics, orginial art, and personal ethnogrophies.","Zines, derived from \"magazines,\" are alternative publications constructed using inexpensive, easily accessible materials. Zines, as a genre, have historically been used by political, social, and counterculture movements to easily and inexpensively proliferate information. Zines are often created in a cooperative, utilizing multiple mediums of expression from poets, essayists, and visual artists. In 2017, the University Archives and Special Collections at FGCU began actively collecting zines to be included in the Spring 2018 exhibition Rape Culture. The collection has a strong focus on sexual assault, women's studies, and the LGBTQIA+ community. Note that language is a constantly evolving construct and therefore the tags, keywords, and subject headings attributed to the zines may be considered unacceptable by contemporary and future standards as well as social norms. The archives intent is to preserve the historical record which may include harmful language when viewed through a 21st century lens. To modify the language would be an act of erasure of the creators' lived experience.","Florida Gulf Coast University Special Collections","Corley, Madison","Lewis, Chloe","English"],"unitid_tesim":["02/01/26","/repositories/2/resources/6"],"normalized_date_ssm":["1973-2019"],"normalized_title_ssm":["Zine Collection, 1973-2019"],"collection_title_tesim":["Zine Collection, 1973-2019"],"collection_ssim":["Zine Collection, 1973-2019"],"repository_ssm":["Florida Gulf Coast University Special Collections"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"geogname_ssm":["Rape.","Rape victims.","Rape in art.","Sexual abuse.","Sexual assault","Sexual consent.","Lesbian and gay studies","Transgender life","Riot grrrl movement.","Zines.","Feminism.","Feminist music.","Feminist art criticism.","Activist art"],"geogname_ssim":["Rape.","Rape victims.","Rape in art.","Sexual abuse.","Sexual assault","Sexual consent.","Lesbian and gay studies","Transgender life","Riot grrrl movement.","Zines.","Feminism.","Feminist music.","Feminist art criticism.","Activist art"],"places_ssim":["Rape.","Rape victims.","Rape in art.","Sexual abuse.","Sexual assault","Sexual consent.","Lesbian and gay studies","Transgender life","Riot grrrl movement.","Zines.","Feminism.","Feminist music.","Feminist art criticism.","Activist art"],"has_online_content_ssim":["false"],"extent_ssm":["9 Linear Feet"],"extent_tesim":["9 Linear Feet"],"date_range_isim":[1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for use."],"arrangement_html_tesm":["\u003cp\u003eOrganized in 7 series: Series 1, Riot Grrrl Zine Collection, 1989-1996; Series 2, Southwest Florida Zine Collection, 2011-Present; Series 3, Non-Collective and Unaffiliated Creators, 1970-2018; Series 4, \"Rape Culture: Zines and Artists' Books\" Exhibition-Related Materials, Spring 2018; Series 5, \"Rape Culture: Zines and Artists' Books\" Large Materials, 2013-2016; Series 6, Non-Collectives and Unaffiliated Creators Part 2, 1920-Present; Series 7, Contemporary American Collectives and Creators, 2019 - 2020.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Organized in 7 series: Series 1, Riot Grrrl Zine Collection, 1989-1996; Series 2, Southwest Florida Zine Collection, 2011-Present; Series 3, Non-Collective and Unaffiliated Creators, 1970-2018; Series 4, \"Rape Culture: Zines and Artists' Books\" Exhibition-Related Materials, Spring 2018; Series 5, \"Rape Culture: Zines and Artists' Books\" Large Materials, 2013-2016; Series 6, Non-Collectives and Unaffiliated Creators Part 2, 1920-Present; Series 7, Contemporary American Collectives and Creators, 2019 - 2020."],"scopecontent_html_tesm":["\u003cp\u003eThe Zine Collection includes Riot Grrrl zines, which is an artist's collective formerly based in Olympia WA with roots in the punk/grunge music scene and covers topics such as feminism, the reclaimation of derogatory language, racism, physical assult and rape, LGBT issues and anarchism; zines that were created by Southwest Florida artists and collectives which features both homemade zines and professionally printed materials covering topics ranging from feminism to witchcraft to home block printing; and the last part of the collection is comprised of zines focused on the topics of rape culture and feminism, but are not a part of any collective or created in Southwest Florida, and they are examples of many types of home-publications as well as comics, orginial art, and personal ethnogrophies.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Zine Collection includes Riot Grrrl zines, which is an artist's collective formerly based in Olympia WA with roots in the punk/grunge music scene and covers topics such as feminism, the reclaimation of derogatory language, racism, physical assult and rape, LGBT issues and anarchism; zines that were created by Southwest Florida artists and collectives which features both homemade zines and professionally printed materials covering topics ranging from feminism to witchcraft to home block printing; and the last part of the collection is comprised of zines focused on the topics of rape culture and feminism, but are not a part of any collective or created in Southwest Florida, and they are examples of many types of home-publications as well as comics, orginial art, and personal ethnogrophies."],"abstract_html_tesm":["\u003cabstract id=\"aspace_5a0de4e8fb6224cb231f2eecf1aee4f4\" label=\"Abstract and Language Disclaimer\"\u003eZines, derived from \"magazines,\" are alternative publications constructed using inexpensive, easily accessible materials. Zines, as a genre, have historically been used by political, social, and counterculture movements to easily and inexpensively proliferate information. Zines are often created in a cooperative, utilizing multiple mediums of expression from poets, essayists, and visual artists. In 2017, the University Archives and Special Collections at FGCU began actively collecting zines to be included in the Spring 2018 exhibition Rape Culture. The collection has a strong focus on sexual assault, women's studies, and the LGBTQIA+ community. Note that language is a constantly evolving construct and therefore the tags, keywords, and subject headings attributed to the zines may be considered unacceptable by contemporary and future standards as well as social norms. The archives intent is to preserve the historical record which may include harmful language when viewed through a 21st century lens. To modify the language would be an act of erasure of the creators' lived experience.\u003c/abstract\u003e"],"abstract_tesim":["Zines, derived from \"magazines,\" are alternative publications constructed using inexpensive, easily accessible materials. Zines, as a genre, have historically been used by political, social, and counterculture movements to easily and inexpensively proliferate information. Zines are often created in a cooperative, utilizing multiple mediums of expression from poets, essayists, and visual artists. In 2017, the University Archives and Special Collections at FGCU began actively collecting zines to be included in the Spring 2018 exhibition Rape Culture. The collection has a strong focus on sexual assault, women's studies, and the LGBTQIA+ community. Note that language is a constantly evolving construct and therefore the tags, keywords, and subject headings attributed to the zines may be considered unacceptable by contemporary and future standards as well as social norms. The archives intent is to preserve the historical record which may include harmful language when viewed through a 21st century lens. To modify the language would be an act of erasure of the creators' lived experience."],"names_ssim":["Florida Gulf Coast University Special Collections","Corley, Madison","Lewis, Chloe"],"corpname_ssim":["Florida Gulf Coast University Special Collections"],"persname_ssim":["Corley, Madison","Lewis, Chloe"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":447,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870843569479090176,"_root_":"256e771e3cc0782aac349f80","timestamp":"2026-07-16T04:17:42.144Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/256e771e3cc0782aac349f80_aspace_4b2296f958f554c199fbc351124f01cc"}},{"id":"18ce43a3c782b797db9fa781_aspace_179487","type":"Item","attributes":{"title":"[Women with golf clubs]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179487#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_179487#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179487","ref_ssm":["aspace_179487","aspace_179487"],"id":"18ce43a3c782b797db9fa781_aspace_179487","title_filing_ssi":"[Women with golf clubs]","title_ssm":["[Women with golf clubs]"],"title_tesim":["[Women with golf clubs]"],"normalized_title_ssm":["[Women with golf clubs]"],"text":["[Women with golf clubs]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Woodmont Part I","Item 28","/repositories/2/archival_objects/83352","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179862","18ce43a3c782b797db9fa781_aspace_179866"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Woodmont Part I"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Woodmont Part I"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 28","/repositories/2/archival_objects/83352"],"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":1727,"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#27/components#2/components#27","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179866","_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_179487"}},{"id":"18ce43a3c782b797db9fa781_aspace_177940","type":"Item","attributes":{"title":"[Women with parasols riding in carriage]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_177940#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_177940#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_177940","ref_ssm":["aspace_177940","aspace_177940"],"id":"18ce43a3c782b797db9fa781_aspace_177940","title_filing_ssi":"[Women with parasols riding in carriage]","title_ssm":["[Women with parasols riding in carriage]"],"title_tesim":["[Women with parasols riding in carriage]"],"normalized_title_ssm":["[Women with parasols riding in carriage]"],"text":["[Women with parasols riding in carriage]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey","Parades","Item 29","/repositories/2/archival_objects/82800","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179820","18ce43a3c782b797db9fa781_aspace_177911"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey","Parades"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey","Parades"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 29","/repositories/2/archival_objects/82800"],"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":784,"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#18/components#0/components#28","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_177911","_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_177940"}},{"id":"3232c27cb5756431732dd4dd_aspace_129189","type":"File","attributes":{"title":"Women! Women! Women!, 1948","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/3232c27cb5756431732dd4dd_aspace_129189#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_129189","ref_ssm":["aspace_129189","aspace_129189"],"id":"3232c27cb5756431732dd4dd_aspace_129189","title_filing_ssi":"Women! Women! Women!","title_ssm":["Women! Women! Women!"],"title_tesim":["Women! Women! Women!"],"unitdate_other_ssim":["1948"],"normalized_date_ssm":["1948"],"normalized_title_ssm":["Women! Women! Women!, 1948"],"text":["Women! Women! Women!, 1948","Joe Merman Sheet Music Collection, 1909-1999","Joe Merman Music Collection","Sheet Music","Folder 31","/repositories/2/archival_objects/36702","3","box 12","folder 31","Algonquin Music Corp.","New York, NY","Raleigh, Ben / Wayne, Bernie","English"],"component_level_isim":[3],"parent_ids_ssim":["3232c27cb5756431732dd4dd","3232c27cb5756431732dd4dd_aspace_128094","3232c27cb5756431732dd4dd_aspace_128095"],"parent_unittitles_ssm":["Joe Merman Sheet Music Collection, 1909-1999","Joe Merman Music Collection","Sheet Music"],"parent_unittitles_tesim":["Joe Merman Sheet Music Collection, 1909-1999","Joe Merman Music Collection","Sheet Music"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["Folder 31","/repositories/2/archival_objects/36702"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["Joe Merman Sheet Music Collection, 1909-1999"],"physdesc_tesim":["3"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":1084,"parent_access_restrict_tesm":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment. Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"parent_access_terms_tesm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"containers_ssim":["box 12","folder 31"],"odd_html_tesm":["\u003cp\u003eAlgonquin Music Corp.\u003c/p\u003e","\u003cp\u003eNew York, NY\u003c/p\u003e","\u003cp\u003eRaleigh, Ben / Wayne, Bernie\u003c/p\u003e"],"odd_heading_ssm":["Publisher","Place","Composer"],"odd_tesim":["Algonquin Music Corp.","New York, NY","Raleigh, Ben / Wayne, Bernie"],"separatedmaterial_html_tesm":["\u003cp\u003eEnglish\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Language"],"separatedmaterial_tesim":["English"],"_nest_path_":"/components#0/components#0/components#1081","_nest_parent_":"3232c27cb5756431732dd4dd_aspace_128095","_root_":"3232c27cb5756431732dd4dd","timestamp":"2026-04-21T17:58:43.015Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"3232c27cb5756431732dd4dd","title_ssm":["Joe Merman Sheet Music Collection"],"title_tesim":["Joe Merman Sheet Music Collection"],"ead_ssi":"3232c27cb5756431732dd4dd","unitdate_ssm":["1909-1999"],"unitdate_inclusive_ssm":["1909-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["PMC00012","/repositories/2/resources/98"],"text":["PMC00012","/repositories/2/resources/98","Joe Merman Sheet Music Collection, 1909-1999","Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment. Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","Alphabetical by score name","Joe Merman was a composer, pianist, orchestrator, and arranger of popular Jewish and American music. The Joe Merman Music Collection includes 1000 pieces of sheet music; all scores are unpublished, single-copy manuscripts and represent his diverse talent in writing different combinations of big band charts and pieces for theatre and radio orchestras. The collections also includes two scrap books that contain numerous images, pamphlets, newspaper clippings, and correspondence spanning across Joe Merman","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections.","Florida Atlantic University Libraries","English"],"unitid_tesim":["PMC00012","/repositories/2/resources/98"],"normalized_date_ssm":["1909-1999"],"normalized_title_ssm":["Joe Merman Sheet Music Collection, 1909-1999"],"collection_title_tesim":["Joe Merman Sheet Music Collection, 1909-1999"],"collection_ssim":["Joe Merman Sheet Music Collection, 1909-1999"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"access_terms_ssm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["8.50 Linear Feet","41 boxes other_unmapped"],"extent_tesim":["8.50 Linear Feet","41 boxes other_unmapped"],"date_range_isim":[1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment. Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment. Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"arrangement_html_tesm":["\u003cp\u003eAlphabetical by score name\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Alphabetical by score name"],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida."],"scopecontent_html_tesm":["\u003cp\u003eJoe Merman was a composer, pianist, orchestrator, and arranger of popular Jewish and American music. The Joe Merman Music Collection includes 1000 pieces of sheet music; all scores are unpublished, single-copy manuscripts and represent his diverse talent in writing different combinations of big band charts and pieces for theatre and radio orchestras. The collections also includes two scrap books that contain numerous images, pamphlets, newspaper clippings, and correspondence spanning across Joe Merman\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Joe Merman was a composer, pianist, orchestrator, and arranger of popular Jewish and American music. The Joe Merman Music Collection includes 1000 pieces of sheet music; all scores are unpublished, single-copy manuscripts and represent his diverse talent in writing different combinations of big band charts and pieces for theatre and radio orchestras. The collections also includes two scrap books that contain numerous images, pamphlets, newspaper clippings, and correspondence spanning across Joe Merman"],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.\u003c/p\u003e\n","\u003cp\u003eWhen using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.\u003c/p\u003e\n","\u003cp\u003eShould the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"names_ssim":["Florida Atlantic University Libraries"],"corpname_ssim":["Florida Atlantic University Libraries"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2109,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"3232c27cb5756431732dd4dd","timestamp":"2026-04-21T17:58:43.015Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/3232c27cb5756431732dd4dd_aspace_129189"}},{"id":"af523c30b90933b50a837e53_aspace_fefab66c751f80f1a862adbc686bb8b0","type":"Item","attributes":{"title":"Women working at the Hav-A-Tampa Cigar Company","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/af523c30b90933b50a837e53_aspace_fefab66c751f80f1a862adbc686bb8b0#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_fefab66c751f80f1a862adbc686bb8b0","ref_ssm":["aspace_fefab66c751f80f1a862adbc686bb8b0","aspace_fefab66c751f80f1a862adbc686bb8b0"],"id":"af523c30b90933b50a837e53_aspace_fefab66c751f80f1a862adbc686bb8b0","title_filing_ssi":"Women working at the Hav-A-Tampa Cigar Company","title_ssm":["Women working at the Hav-A-Tampa Cigar Company"],"title_tesim":["Women working at the Hav-A-Tampa Cigar Company"],"normalized_title_ssm":["Women working at the Hav-A-Tampa Cigar Company"],"text":["Women working at the Hav-A-Tampa Cigar Company","Burgert Brothers collection of Tampa photographs, bulk 1890-1960","42269-51441","6","/repositories/2/archival_objects/146218","box 9"],"component_level_isim":[2],"parent_ids_ssim":["af523c30b90933b50a837e53","af523c30b90933b50a837e53_aspace_fde947ad8caabd064c3a85e449036f84"],"parent_unittitles_ssm":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960","42269-51441"],"parent_unittitles_tesim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960","42269-51441"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["6","/repositories/2/archival_objects/146218"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":320,"parent_access_restrict_tesm":["The collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida."],"parent_access_terms_tesm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"containers_ssim":["box 9"],"_nest_path_":"/components#8/components#5","_nest_parent_":"af523c30b90933b50a837e53_aspace_fde947ad8caabd064c3a85e449036f84","_root_":"af523c30b90933b50a837e53","_version_":1879740859650408448,"timestamp":"2026-10-22T09:16:19.330Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"af523c30b90933b50a837e53","title_ssm":["Burgert Brothers collection of Tampa photographs"],"title_tesim":["Burgert Brothers collection of Tampa photographs"],"ead_ssi":"af523c30b90933b50a837e53","unitdate_ssm":["1890-1960"],"unitdate_bulk_ssim":["1890-1960"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2000-03","/repositories/2/resources/458"],"text":["MS-2000-03","/repositories/2/resources/458","Burgert Brothers collection of Tampa photographs, bulk 1890-1960","The collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida.","This collection is currently unprocessed.","Samuel Burgert was born in Cincinnati, Ohio in 1849. He later married Adelina Jane Barlow who was a native of Shreveport, Louisana. During the 1880's Samuel moved his wife and four sons to Florida. Locating in Jacksonville, Samuel worked as a photographer, during which time Adelina gave birth to twin boys. Near the end of the 19th century the Burgert family finally moved to Tampa where three of the Burgerts worked as photographers. Samuel's sons Al and Jean started the Burgert Brothers firm around 1917. They were widley known as skilled, and reputable photographers who maintained the finest equipment and didn't discriminate. They worked nearly every aspect of the business, including news, portrait, and commercial photography. Throughout their careers they took hundreds of thousands of photographs which recorded the development of Tampa from a small town to a major city. ","Synder, Robert E. and Jack B. Morre,  Sunland Tribune  , 16 (November 1990) pp. 19-26.","For further reading see: Synder, Robert B. and Jack B. Moore,  Pioneer Commercial Photography- The Burgert Brothers , Tampa, Florida, University Press of Flordia: Gainesville, 1992.","The collection consists of Burgert Brothers prints derived from various sources and assembled into a composite collection.  The two principle sources for the Burgert images were the photographic holdings of the Tony Pizzo and Hampton Dunn collections. Both had considerable numbers of Burgert prints and negatives dispersed under various subject headings. The collection was assembled into a single, coherent collection in 1993.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","Burgert Brothers Commercial Photographers","English"],"unitid_tesim":["MS-2000-03","/repositories/2/resources/458"],"normalized_date_ssm":["bulk 1890-1960"],"normalized_title_ssm":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"collection_title_tesim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"collection_ssim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Burgert Brothers Commercial Photographers"],"creator_ssim":["Burgert Brothers Commercial Photographers"],"creator_corpname_ssim":["Burgert Brothers Commercial Photographers"],"creators_ssim":["Burgert Brothers Commercial Photographers"],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"has_online_content_ssim":["false"],"extent_ssm":["4.39 Linear Feet","21 boxes"],"extent_tesim":["4.39 Linear Feet","21 boxes"],"date_range_isim":[1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida."],"arrangement_html_tesm":["\u003cp\u003eThis collection is currently unprocessed.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["This collection is currently unprocessed."],"bioghist_html_tesm":["\u003cp\u003eSamuel Burgert was born in Cincinnati, Ohio in 1849. He later married Adelina Jane Barlow who was a native of Shreveport, Louisana. During the 1880's Samuel moved his wife and four sons to Florida. Locating in Jacksonville, Samuel worked as a photographer, during which time Adelina gave birth to twin boys. Near the end of the 19th century the Burgert family finally moved to Tampa where three of the Burgerts worked as photographers. Samuel's sons Al and Jean started the Burgert Brothers firm around 1917. They were widley known as skilled, and reputable photographers who maintained the finest equipment and didn't discriminate. They worked nearly every aspect of the business, including news, portrait, and commercial photography. Throughout their careers they took hundreds of thousands of photographs which recorded the development of Tampa from a small town to a major city. \u003c/p\u003e\n","\u003cp\u003eSynder, Robert E. and Jack B. Morre, \u003cemph render=\"italic\"\u003eSunland Tribune\u003c/emph\u003e , 16 (November 1990) pp. 19-26.\u003c/p\u003e\n","\u003cp\u003eFor further reading see: Synder, Robert B. and Jack B. Moore, \u003cemph render=\"italic\"\u003ePioneer Commercial Photography- The Burgert Brothers\u003c/emph\u003e, Tampa, Florida, University Press of Flordia: Gainesville, 1992.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Samuel Burgert was born in Cincinnati, Ohio in 1849. He later married Adelina Jane Barlow who was a native of Shreveport, Louisana. During the 1880's Samuel moved his wife and four sons to Florida. Locating in Jacksonville, Samuel worked as a photographer, during which time Adelina gave birth to twin boys. Near the end of the 19th century the Burgert family finally moved to Tampa where three of the Burgerts worked as photographers. Samuel's sons Al and Jean started the Burgert Brothers firm around 1917. They were widley known as skilled, and reputable photographers who maintained the finest equipment and didn't discriminate. They worked nearly every aspect of the business, including news, portrait, and commercial photography. Throughout their careers they took hundreds of thousands of photographs which recorded the development of Tampa from a small town to a major city. ","Synder, Robert E. and Jack B. Morre,  Sunland Tribune  , 16 (November 1990) pp. 19-26.","For further reading see: Synder, Robert B. and Jack B. Moore,  Pioneer Commercial Photography- The Burgert Brothers , Tampa, Florida, University Press of Flordia: Gainesville, 1992."],"prefercite_html_tesm":["\u003cp\u003eBurgert Brothers Collection of Tampa Photographs, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Burgert Brothers Collection of Tampa Photographs, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of Burgert Brothers prints derived from various sources and assembled into a composite collection.\u0026#xA0; The two principle sources for the Burgert images were the photographic holdings of the Tony Pizzo and Hampton Dunn collections. Both had considerable numbers of Burgert prints and negatives dispersed under various subject headings. 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The collection was assembled into a single, coherent collection in 1993."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections","Burgert Brothers Commercial Photographers"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Burgert Brothers Commercial Photographers"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":774,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1879740859650408448,"_root_":"af523c30b90933b50a837e53","timestamp":"2026-10-22T09:16:19.330Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/af523c30b90933b50a837e53_aspace_fefab66c751f80f1a862adbc686bb8b0"}},{"id":"af523c30b90933b50a837e53_aspace_680a1aa306f5fd79321ff6c3e8e459db","type":"Item","attributes":{"title":"Women working at the Hav-A-Tampa Cigar Company","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/af523c30b90933b50a837e53_aspace_680a1aa306f5fd79321ff6c3e8e459db#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_680a1aa306f5fd79321ff6c3e8e459db","ref_ssm":["aspace_680a1aa306f5fd79321ff6c3e8e459db","aspace_680a1aa306f5fd79321ff6c3e8e459db"],"id":"af523c30b90933b50a837e53_aspace_680a1aa306f5fd79321ff6c3e8e459db","title_filing_ssi":"Women working at the Hav-A-Tampa Cigar Company","title_ssm":["Women working at the Hav-A-Tampa Cigar Company"],"title_tesim":["Women working at the Hav-A-Tampa Cigar Company"],"normalized_title_ssm":["Women working at the Hav-A-Tampa Cigar Company"],"text":["Women working at the Hav-A-Tampa Cigar Company","Burgert Brothers collection of Tampa photographs, bulk 1890-1960","42269-51441","7","/repositories/2/archival_objects/146219","box 9"],"component_level_isim":[2],"parent_ids_ssim":["af523c30b90933b50a837e53","af523c30b90933b50a837e53_aspace_fde947ad8caabd064c3a85e449036f84"],"parent_unittitles_ssm":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960","42269-51441"],"parent_unittitles_tesim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960","42269-51441"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["7","/repositories/2/archival_objects/146219"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Burgert Brothers collection of Tampa photographs, bulk 1890-1960"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":321,"parent_access_restrict_tesm":["The collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida."],"parent_access_terms_tesm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"containers_ssim":["box 9"],"_nest_path_":"/components#8/components#6","_nest_parent_":"af523c30b90933b50a837e53_aspace_fde947ad8caabd064c3a85e449036f84","_root_":"af523c30b90933b50a837e53","_version_":1879740859650408448,"timestamp":"2026-10-22T09:16:19.330Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"af523c30b90933b50a837e53","title_ssm":["Burgert Brothers collection of Tampa photographs"],"title_tesim":["Burgert Brothers collection of Tampa photographs"],"ead_ssi":"af523c30b90933b50a837e53","unitdate_ssm":["1890-1960"],"unitdate_bulk_ssim":["1890-1960"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2000-03","/repositories/2/resources/458"],"text":["MS-2000-03","/repositories/2/resources/458","Burgert Brothers collection of Tampa photographs, bulk 1890-1960","The collection is unprocessed, but is available in the Special and Digital Collections Reading Room, Tampa Library, University of South Florida.","This collection is currently unprocessed.","Samuel Burgert was born in Cincinnati, Ohio in 1849. 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They were widley known as skilled, and reputable photographers who maintained the finest equipment and didn't discriminate. They worked nearly every aspect of the business, including news, portrait, and commercial photography. Throughout their careers they took hundreds of thousands of photographs which recorded the development of Tampa from a small town to a major city. ","Synder, Robert E. and Jack B. Morre,  Sunland Tribune  , 16 (November 1990) pp. 19-26.","For further reading see: Synder, Robert B. and Jack B. Moore,  Pioneer Commercial Photography- The Burgert Brothers , Tampa, Florida, University Press of Flordia: Gainesville, 1992."],"prefercite_html_tesm":["\u003cp\u003eBurgert Brothers Collection of Tampa Photographs, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Burgert Brothers Collection of Tampa Photographs, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of Burgert Brothers prints derived from various sources and assembled into a composite collection.\u0026#xA0; The two principle sources for the Burgert images were the photographic holdings of the Tony Pizzo and Hampton Dunn collections. Both had considerable numbers of Burgert prints and negatives dispersed under various subject headings. The collection was assembled into a single, coherent collection in 1993.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection consists of Burgert Brothers prints derived from various sources and assembled into a composite collection.  The two principle sources for the Burgert images were the photographic holdings of the Tony Pizzo and Hampton Dunn collections. Both had considerable numbers of Burgert prints and negatives dispersed under various subject headings. The collection was assembled into a single, coherent collection in 1993."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections","Burgert Brothers Commercial Photographers"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Burgert Brothers Commercial Photographers"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":774,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1879740859650408448,"_root_":"af523c30b90933b50a837e53","timestamp":"2026-10-22T09:16:19.330Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/af523c30b90933b50a837e53_aspace_680a1aa306f5fd79321ff6c3e8e459db"}},{"id":"4ecd9741f5ab1f086d98fc86_aspace_99c43e42a9b5113785adb4b7582d6616","type":"File","attributes":{"title":"Women \u0026 WWII, 1979-1980","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/4ecd9741f5ab1f086d98fc86_aspace_99c43e42a9b5113785adb4b7582d6616#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eFive articles relating to women's efforts during WWII\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/4ecd9741f5ab1f086d98fc86_aspace_99c43e42a9b5113785adb4b7582d6616#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_99c43e42a9b5113785adb4b7582d6616","ref_ssm":["aspace_99c43e42a9b5113785adb4b7582d6616","aspace_99c43e42a9b5113785adb4b7582d6616"],"id":"4ecd9741f5ab1f086d98fc86_aspace_99c43e42a9b5113785adb4b7582d6616","title_filing_ssi":"Women \u0026 WWII","title_ssm":["Women \u0026 WWII"],"title_tesim":["Women \u0026 WWII"],"unitdate_inclusive_ssm":["1979-1980"],"normalized_date_ssm":["1979-1980"],"normalized_title_ssm":["Women \u0026 WWII, 1979-1980"],"text":["Women \u0026 WWII, 1979-1980","Dr. Heather Frazer and Dr. John O'Sullivan Research Collection, 1871 - 2006","Research, bulk 1871-2006","/repositories/2/archival_objects/77646","box 4","folder 8","Five articles relating to women's efforts during WWII"],"component_level_isim":[2],"parent_ids_ssim":["4ecd9741f5ab1f086d98fc86","4ecd9741f5ab1f086d98fc86_aspace_ff3bc41a85011bea5a51cdad9b65b38a"],"parent_unittitles_ssm":["Dr. Heather Frazer and Dr. John O'Sullivan Research Collection, 1871 - 2006","Research, bulk 1871-2006"],"parent_unittitles_tesim":["Dr. Heather Frazer and Dr. John O'Sullivan Research Collection, 1871 - 2006","Research, bulk 1871-2006"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/77646"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["Dr. Heather Frazer and Dr. John O'Sullivan Research Collection, 1871 - 2006"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":57,"parent_access_restrict_tesm":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library. See less"],"parent_access_terms_tesm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement. When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder. Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections. See less See less"],"date_range_isim":[1979,1980],"containers_ssim":["box 4","folder 8"],"scopecontent_html_tesm":["\u003cp\u003eFive articles relating to women's efforts during WWII\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Five articles relating to women's efforts during WWII"],"_nest_path_":"/components#0/components#55","_nest_parent_":"4ecd9741f5ab1f086d98fc86_aspace_ff3bc41a85011bea5a51cdad9b65b38a","_root_":"4ecd9741f5ab1f086d98fc86","timestamp":"2026-07-11T02:01:13.886Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"4ecd9741f5ab1f086d98fc86","title_ssm":["Dr. Heather Frazer and Dr. John O'Sullivan Research Collection"],"title_tesim":["Dr. Heather Frazer and Dr. John O'Sullivan Research Collection"],"ead_ssi":"4ecd9741f5ab1f086d98fc86","unitdate_ssm":["1871 - 2006"],"unitdate_inclusive_ssm":["1871 - 2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UAFP0012","/repositories/2/resources/203"],"text":["UAFP0012","/repositories/2/resources/203","Dr. Heather Frazer and Dr. John O'Sullivan Research Collection, 1871 - 2006","United States","World War, 1939-1945","University Archives","University Archives -- Faculty Papers"," Civilian Public Service -- History","World War, 1939-1945 -- Conscientious objectors -- United States","Oral history","Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library. See less","The Frazer-O'Sullivan Collection contains the research for the co- authored book, We Have Just Begun to Not Fight: An Oral History of Conscientious Objectors in the Civilian Public Service During World War II, by Heather Frazer and John O'Sullivan. More than 40,000 American men refused to fight during World War II. Citing principled opposition, they declared themselves conscientious objectors. Rejecting combat duty, nearly 12,000 men entered Civilian Public Service (CPS) with the intent to perform \"work of national importance\" as an alternative to combat duty. The CPS program was set up by members of the historic peace churches (Mennonites, Brethren, and Quakers) and participated in by pacifists from other churches, of no specific religious persuasion, and, in the case of a few, no persuasion except not to fight in that particular war. CPS men worked as aides in mental hospitals, volunteered as smoke jumpers in forest fires, and participated in grueling medical and scientific experiments.  Frazer and O'Sullivan use the oral histories of 15 CPS men and two of their wives to illuminate their experience during World War II. ","Heather T. Frazer (1940 – 2016) was a professor of history at Florida Atlantic University. In 1971, she became the first female faculty member in the FAU history department where she taught for 35 years before retiring in 2006. During her tenure, she served as Department Chair and Director of Graduate Studies. She also pioneered the study of women's history at FAU, helping establish the Women's Studies program, which is now the Center for Women, Gender and Sexuality Studies. Dr. Frazer taught courses in women's history, modern Britain and British Empire, Indian history, and oral history.","John O'Sullivan (1939-2000) was a professor of history at Florida Atlantic University. In 1971, he came to Florida Atlantic University where he served as chair of the History Department (1975-1978) and devoted his entire academic career. Dr. O'Sullivan received numerous research fellowships including the American Philosophical Society, the American Historical Association, and the Sloan Foundation. His areas of specialization were World War II, Vietnam War, Nuclear Age, the Holocaust, Peace History, Oral History and Modern American Political and Diplomatic Affairs.","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement. When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder. Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections. See less See less","Florida Atlantic University Libraries","English"],"unitid_tesim":["UAFP0012","/repositories/2/resources/203"],"normalized_date_ssm":["1871 - 2006"],"normalized_title_ssm":["Dr. Heather Frazer and Dr. John O'Sullivan Research Collection, 1871 - 2006"],"collection_title_tesim":["Dr. Heather Frazer and Dr. John O'Sullivan Research Collection, 1871 - 2006"],"collection_ssim":["Dr. Heather Frazer and Dr. John O'Sullivan Research Collection, 1871 - 2006"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"geogname_ssm":["United States"],"geogname_ssim":["United States"],"places_ssim":["United States"],"access_terms_ssm":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement. When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder. Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections. See less See less"],"access_subjects_ssim":["World War, 1939-1945","University Archives","University Archives -- Faculty Papers"," Civilian Public Service -- History","World War, 1939-1945 -- Conscientious objectors -- United States","Oral history"],"access_subjects_ssm":["World War, 1939-1945","University Archives","University Archives -- Faculty Papers"," Civilian Public Service -- History","World War, 1939-1945 -- Conscientious objectors -- United States","Oral history"],"has_online_content_ssim":["false"],"extent_ssm":["67 boxes"],"extent_tesim":["67 boxes"],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.\u003c/p\u003e\n","\u003cp\u003ePhotocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library. See less\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library. See less"],"scopecontent_html_tesm":["\u003cp\u003eThe Frazer-O'Sullivan Collection contains the research for the co- authored book, We Have Just Begun to Not Fight: An Oral History of Conscientious Objectors in the Civilian Public Service During World War II, by Heather Frazer and John O'Sullivan. More than 40,000 American men refused to fight during World War II. Citing principled opposition, they declared themselves conscientious objectors. Rejecting combat duty, nearly 12,000 men entered Civilian Public Service (CPS) with the intent to perform \"work of national importance\" as an alternative to combat duty. The CPS program was set up by members of the historic peace churches (Mennonites, Brethren, and Quakers) and participated in by pacifists from other churches, of no specific religious persuasion, and, in the case of a few, no persuasion except not to fight in that particular war. CPS men worked as aides in mental hospitals, volunteered as smoke jumpers in forest fires, and participated in grueling medical and scientific experiments.  Frazer and O'Sullivan use the oral histories of 15 CPS men and two of their wives to illuminate their experience during World War II. \u003c/p\u003e\n","\u003cp\u003eHeather T. Frazer (1940 \u0026#x2013; 2016) was a professor of history at Florida Atlantic University. In 1971, she became the first female faculty member in the FAU history department where she taught for 35 years before retiring in 2006. During her tenure, she served as Department Chair and Director of Graduate Studies. She also pioneered the study of women's history at FAU, helping establish the Women's Studies program, which is now the Center for Women, Gender and Sexuality Studies. Dr. Frazer taught courses in women's history, modern Britain and British Empire, Indian history, and oral history.\u003c/p\u003e\n","\u003cp\u003eJohn O'Sullivan (1939-2000) was a professor of history at Florida Atlantic University. In 1971, he came to Florida Atlantic University where he served as chair of the History Department (1975-1978) and devoted his entire academic career. Dr. O'Sullivan received numerous research fellowships including the American Philosophical Society, the American Historical Association, and the Sloan Foundation. His areas of specialization were World War II, Vietnam War, Nuclear Age, the Holocaust, Peace History, Oral History and Modern American Political and Diplomatic Affairs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Frazer-O'Sullivan Collection contains the research for the co- authored book, We Have Just Begun to Not Fight: An Oral History of Conscientious Objectors in the Civilian Public Service During World War II, by Heather Frazer and John O'Sullivan. More than 40,000 American men refused to fight during World War II. Citing principled opposition, they declared themselves conscientious objectors. Rejecting combat duty, nearly 12,000 men entered Civilian Public Service (CPS) with the intent to perform \"work of national importance\" as an alternative to combat duty. The CPS program was set up by members of the historic peace churches (Mennonites, Brethren, and Quakers) and participated in by pacifists from other churches, of no specific religious persuasion, and, in the case of a few, no persuasion except not to fight in that particular war. CPS men worked as aides in mental hospitals, volunteered as smoke jumpers in forest fires, and participated in grueling medical and scientific experiments.  Frazer and O'Sullivan use the oral histories of 15 CPS men and two of their wives to illuminate their experience during World War II. ","Heather T. Frazer (1940 – 2016) was a professor of history at Florida Atlantic University. In 1971, she became the first female faculty member in the FAU history department where she taught for 35 years before retiring in 2006. During her tenure, she served as Department Chair and Director of Graduate Studies. She also pioneered the study of women's history at FAU, helping establish the Women's Studies program, which is now the Center for Women, Gender and Sexuality Studies. Dr. Frazer taught courses in women's history, modern Britain and British Empire, Indian history, and oral history.","John O'Sullivan (1939-2000) was a professor of history at Florida Atlantic University. In 1971, he came to Florida Atlantic University where he served as chair of the History Department (1975-1978) and devoted his entire academic career. Dr. O'Sullivan received numerous research fellowships including the American Philosophical Society, the American Historical Association, and the Sloan Foundation. His areas of specialization were World War II, Vietnam War, Nuclear Age, the Holocaust, Peace History, Oral History and Modern American Political and Diplomatic Affairs."],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement. When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder. Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections. See less See less\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement. When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder. Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections. See less See less"],"names_ssim":["Florida Atlantic University Libraries"],"corpname_ssim":["Florida Atlantic University Libraries"],"language_ssim":["English"],"total_component_count_is":808,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"4ecd9741f5ab1f086d98fc86","timestamp":"2026-07-11T02:01:13.886Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/4ecd9741f5ab1f086d98fc86_aspace_99c43e42a9b5113785adb4b7582d6616"}},{"id":"4b1b011e59287a46abc92172_aspace_47439","type":"File","attributes":{"title":"Wometco Enterprises-3rd District, 1966","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/4b1b011e59287a46abc92172_aspace_47439#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_47439","ref_ssm":["aspace_47439","aspace_47439"],"id":"4b1b011e59287a46abc92172_aspace_47439","title_filing_ssi":"Wometco Enterprises-3rd District","title_ssm":["Wometco Enterprises-3rd District"],"title_tesim":["Wometco Enterprises-3rd District"],"unitdate_other_ssim":["1966"],"normalized_date_ssm":["1966"],"normalized_title_ssm":["Wometco Enterprises-3rd District, 1966"],"text":["Wometco Enterprises-3rd District, 1966","Claude Pepper Papers, 1900-1989","U.S. House","U.S. House - Correspondence","Folder 8","/repositories/10/archival_objects/103773","301 - Box 234","folder 8"],"component_level_isim":[3],"parent_ids_ssim":["4b1b011e59287a46abc92172","4b1b011e59287a46abc92172_aspace_90d5fc28931abbf58f09941a28fa2e3b","4b1b011e59287a46abc92172_aspace_45512"],"parent_unittitles_ssm":["Claude Pepper Papers, 1900-1989","U.S. House","U.S. House - Correspondence"],"parent_unittitles_tesim":["Claude Pepper Papers, 1900-1989","U.S. House","U.S. House - Correspondence"],"parent_levels_ssm":["collection","Record Group","Series"],"unitid_ssm":["Folder 8","/repositories/10/archival_objects/103773"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Claude Pepper Papers, 1900-1989"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":7340,"parent_access_restrict_tesm":["Collection is open to all researchers. Users may access this collection at the Claude Pepper Library."],"parent_access_terms_tesm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"containers_ssim":["301 - Box 234","folder 8"],"_nest_path_":"/components#2/components#0/components#2924","_nest_parent_":"4b1b011e59287a46abc92172_aspace_45512","_root_":"4b1b011e59287a46abc92172","_version_":1870947473700159488,"timestamp":"2026-07-17T07:49:12.052Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"4b1b011e59287a46abc92172","title_ssm":["Claude Pepper Papers"],"title_tesim":["Claude Pepper Papers"],"ead_ssi":"4b1b011e59287a46abc92172","unitdate_ssm":["1900-1989"],"unitdate_inclusive_ssm":["1900-1989"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 1979-01","/repositories/10/resources/640"],"text":["MSS 1979-01","/repositories/10/resources/640","Claude Pepper Papers, 1900-1989","Florida--Politics and government","Florida--History","United States. Congress. House","United States--Politics and government--1933-1945","United States--Politics and government--1945-1953","United States--Politics and government--1953-1961","Collection is open to all researchers. Users may access this collection at the Claude Pepper Library.","During the processing of this collection, the original order of the files, as reflected in the filing series in his Washington, D.C. and Miami, Florida offices, were preserved as closely as possible. The order of files within most series generally follows an alphabetical sequence by subject and/or folder. Many campaign materials and official itineraries are arranged chronologically. Within a file folder, the material was retained in its original state (usually reverse chronological order) as much as possible, unless the arrangement presented access problems to researchers. Two or more file folders with the same title were usually arranged in chronological order.","As is typical of Congressional collections, material related to any one topic may be found in several places according to the use of the information, the creator of the folders, the history of department name changes, or the filing practices of different office staff members. For example, information about Social Security may be found in the following areas:","Record Group 300 - U.S. House of Representatives:","~Series 301 Correspondence ~Subseries 302A Aging Committee ~Subseries 302H National Committee on Social Security Reform ~Subseries 303A Congressional Speeches ~Subseries 303B Speeches (Other Groups) ~Series 305 News Clippings","To insure the preservation of the materials and their accessibility to researchers, photographs, negatives, memorabilia, and recordings were removed from the papers and transferred to their appropriate series. Separation sheets were placed in all folders from which these items were removed as well as in folders to which the items were transferred.","Claude Pepper was a devoted public servant who served over 40 years in public office first as a Member of the Florida House of Representatives (1929-1930), then as a U.S. Senator (1936-1950), and then as a Member of the U.S. House of Representatives (1962-1989). Early in his career, Pepper was a progressive minded liberal who sponsored legislation to promote equal rights, civil rights, workers' rights and the Lend-Lease Act. During and after World War II, Pepper became a driving force for the establishment of the National Institutes of Health, a system of government-sponsored medical research facilities.\n Much later in his life and career, he gained international fame as an advocate of older persons rights, health care, and for strengthening and protecting Social Security, Medicare, Medicaid, and other government sponsored programs on behalf of millions of Americans.\n Prior to his death, Pepper donated the bulk of his vast collection of official and personal papers to the Florida State University. It was his express wish that his collection is made available to researchers and scholars.","The Mildred and Claude Pepper Collection was donated by Congressman Claude Pepper to the Florida State University Libraries in 1979. Subsequent donations were made during the 1980s, and additional materials were acquired following his death in 1989. Initially, the Pepper Collection was housed at Dodd Hall on the Florida State University campus but was relocated in 1998 to a new state-of-the-art archival space located on the first floor of the Claude Pepper Center Building.","Peter A. Corning, Social Security Project, Reminiscences of Claude Denson Pepper : Oral History, 1967. Oral History Research Office, Columbia University.","Claude Pepper, Scrapbooks. Department of Special Collections, University of Florida Libraries.","Roosevelt, Franklin D., President's alphabetical file, 1933-1945. Franklin D. Roosevelt Library.","Patricia Sullivan, Progressive Party Oral History Interviews. Special Collections Department, Robert W. Woodruff Library, Emory University. (Includes oral history interview with Claude Pepper)","Containing over two million pages, the Claude Pepper Papers includes his official correspondence, speeches, legislative, committee, and campaign files. In addition, there are files of his personal correspondence, speeches, photographs, recordings, and memorabilia. Also included are the personal papers, photographs, recordings, and memorabilia of his wife, Mildred Irene Webster Pepper. Mrs. Pepper always took a deep interest in public affairs and in helping her husband in his political career. She vigorously supported medical research, urban beautification, conservation, and actively participated in charitable and humanitarian organizations. There are also personal papers of the Pepper/Webster family, largely consisting of correspondence from parents, brothers, sisters, and other family members.","These materials document the political and personal life of one of the most politically active individuals throughout most of this century, and in terms of size, content, and national significance, they have been compared to prestigious presidential collections, including the Papers of President Franklin D. Roosevelt. In addition to its value to historical research, these materials will enable current policy makers to build upon Claude Pepper's achievements as they continue to focus on his unfinished work. Because of his legacy, it is vital that the Claude Pepper Collection should always be accessible and preserved for future generations of scholars and researchers. Personal letters from Winston Churchill, Franklin D. and Eleanor Roosevelt, Harry S. Truman, and John F. Kennedy are among the treasures to be found here. The photographs include many individuals of historical significance, such as Pope Paul VI, Albert Einstein, and Martin Luther King, Jr. There are also recordings of such political notables as Lyndon Johnson, Tip O'Neill, and Hubert Humphrey. The Pepper Collection not only documents the career of one of the most politically active individuals of this century, it reflects the changes that have taken place in every area of American life. It contains a wealth of material on a variety of topics. Research using the Pepper Collection has focused on topics as diverse as the World War II \"Mother's Movement,\" American Indian land claims, national health care, Social Security, the Vietnamese conflict, and organized labor. Currently, the collection is being digitized to provide researchers with the opportunity to study his collection from anywhere around the world.","Select materials from the Claude Pepper Papers have been digitized and are available through the  FSU Digital Library .","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","Claude Pepper Library","FSU Special Collections \u0026 Archives","United States. Congress. Senate","Pepper, Claude D.","Pepper, Claude, 1900-1989","English"],"unitid_tesim":["MSS 1979-01","/repositories/10/resources/640"],"normalized_date_ssm":["1900-1989"],"normalized_title_ssm":["Claude Pepper Papers, 1900-1989"],"collection_title_tesim":["Claude Pepper Papers, 1900-1989"],"collection_ssim":["Claude Pepper Papers, 1900-1989"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"creator_ssm":["Pepper, Claude D."],"creator_ssim":["Pepper, Claude D."],"creator_famname_ssim":["Pepper, Claude D."],"creators_ssim":["Pepper, Claude D."],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["Claude and Mildred Pepper"],"access_subjects_ssim":["Florida--Politics and government","Florida--History","United States. Congress. House","United States--Politics and government--1933-1945","United States--Politics and government--1945-1953","United States--Politics and government--1953-1961"],"access_subjects_ssm":["Florida--Politics and government","Florida--History","United States. Congress. House","United States--Politics and government--1933-1945","United States--Politics and government--1945-1953","United States--Politics and government--1953-1961"],"has_online_content_ssim":["false"],"extent_ssm":["1200.00 Linear Feet"],"extent_tesim":["1200.00 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Users may access this collection at the Claude Pepper Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Users may access this collection at the Claude Pepper Library."],"arrangement_html_tesm":["\u003cp\u003eDuring the processing of this collection, the original order of the files, as reflected in the filing series in his Washington, D.C. and Miami, Florida offices, were preserved as closely as possible. The order of files within most series generally follows an alphabetical sequence by subject and/or folder. Many campaign materials and official itineraries are arranged chronologically. Within a file folder, the material was retained in its original state (usually reverse chronological order) as much as possible, unless the arrangement presented access problems to researchers. Two or more file folders with the same title were usually arranged in chronological order.\u003c/p\u003e\n","\u003cp\u003eAs is typical of Congressional collections, material related to any one topic may be found in several places according to the use of the information, the creator of the folders, the history of department name changes, or the filing practices of different office staff members. For example, information about Social Security may be found in the following areas:\u003c/p\u003e\n","\u003cp\u003eRecord Group 300 - U.S. House of Representatives:\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"italic\"\u003e~Series 301 Correspondence ~Subseries 302A Aging Committee ~Subseries 302H National Committee on Social Security Reform ~Subseries 303A Congressional Speeches ~Subseries 303B Speeches (Other Groups) ~Series 305 News Clippings\u003c/emph\u003e\u003c/p\u003e\n","\u003cp\u003eTo insure the preservation of the materials and their accessibility to researchers, photographs, negatives, memorabilia, and recordings were removed from the papers and transferred to their appropriate series. Separation sheets were placed in all folders from which these items were removed as well as in folders to which the items were transferred.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["During the processing of this collection, the original order of the files, as reflected in the filing series in his Washington, D.C. and Miami, Florida offices, were preserved as closely as possible. The order of files within most series generally follows an alphabetical sequence by subject and/or folder. Many campaign materials and official itineraries are arranged chronologically. Within a file folder, the material was retained in its original state (usually reverse chronological order) as much as possible, unless the arrangement presented access problems to researchers. Two or more file folders with the same title were usually arranged in chronological order.","As is typical of Congressional collections, material related to any one topic may be found in several places according to the use of the information, the creator of the folders, the history of department name changes, or the filing practices of different office staff members. For example, information about Social Security may be found in the following areas:","Record Group 300 - U.S. House of Representatives:","~Series 301 Correspondence ~Subseries 302A Aging Committee ~Subseries 302H National Committee on Social Security Reform ~Subseries 303A Congressional Speeches ~Subseries 303B Speeches (Other Groups) ~Series 305 News Clippings","To insure the preservation of the materials and their accessibility to researchers, photographs, negatives, memorabilia, and recordings were removed from the papers and transferred to their appropriate series. Separation sheets were placed in all folders from which these items were removed as well as in folders to which the items were transferred."],"bioghist_html_tesm":["\u003cp\u003eClaude Pepper was a devoted public servant who served over 40 years in public office first as a Member of the Florida House of Representatives (1929-1930), then as a U.S. Senator (1936-1950), and then as a Member of the U.S. House of Representatives (1962-1989). Early in his career, Pepper was a progressive minded liberal who sponsored legislation to promote equal rights, civil rights, workers' rights and the Lend-Lease Act. During and after World War II, Pepper became a driving force for the establishment of the National Institutes of Health, a system of government-sponsored medical research facilities.\n\u003cbr\u003e\u003cbr\u003eMuch later in his life and career, he gained international fame as an advocate of older persons rights, health care, and for strengthening and protecting Social Security, Medicare, Medicaid, and other government sponsored programs on behalf of millions of Americans.\n\u003cbr\u003e\u003cbr\u003ePrior to his death, Pepper donated the bulk of his vast collection of official and personal papers to the Florida State University. It was his express wish that his collection is made available to researchers and scholars.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Claude Pepper was a devoted public servant who served over 40 years in public office first as a Member of the Florida House of Representatives (1929-1930), then as a U.S. Senator (1936-1950), and then as a Member of the U.S. House of Representatives (1962-1989). Early in his career, Pepper was a progressive minded liberal who sponsored legislation to promote equal rights, civil rights, workers' rights and the Lend-Lease Act. During and after World War II, Pepper became a driving force for the establishment of the National Institutes of Health, a system of government-sponsored medical research facilities.\n Much later in his life and career, he gained international fame as an advocate of older persons rights, health care, and for strengthening and protecting Social Security, Medicare, Medicaid, and other government sponsored programs on behalf of millions of Americans.\n Prior to his death, Pepper donated the bulk of his vast collection of official and personal papers to the Florida State University. It was his express wish that his collection is made available to researchers and scholars."],"custodhist_html_tesm":["\u003cp\u003eThe Mildred and Claude Pepper Collection was donated by Congressman Claude Pepper to the Florida State University Libraries in 1979. Subsequent donations were made during the 1980s, and additional materials were acquired following his death in 1989. Initially, the Pepper Collection was housed at Dodd Hall on the Florida State University campus but was relocated in 1998 to a new state-of-the-art archival space located on the first floor of the Claude Pepper Center Building.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The Mildred and Claude Pepper Collection was donated by Congressman Claude Pepper to the Florida State University Libraries in 1979. Subsequent donations were made during the 1980s, and additional materials were acquired following his death in 1989. Initially, the Pepper Collection was housed at Dodd Hall on the Florida State University campus but was relocated in 1998 to a new state-of-the-art archival space located on the first floor of the Claude Pepper Center Building."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], Claude Pepper Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/MSS_1979-01\"\u003ehttp://purl.fcla.edu/fsu/MSS_1979-01\u003c/extref\u003e.\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], Claude Pepper Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/MSS_1979-01 ."],"relatedmaterial_html_tesm":["\u003cp\u003ePeter A. Corning, Social Security Project, Reminiscences of Claude Denson Pepper : Oral History, 1967. Oral History Research Office, Columbia University.\u003c/p\u003e\n","\u003cp\u003eClaude Pepper, Scrapbooks. Department of Special Collections, University of Florida Libraries.\u003c/p\u003e\n","\u003cp\u003eRoosevelt, Franklin D., President's alphabetical file, 1933-1945. Franklin D. Roosevelt Library.\u003c/p\u003e\n","\u003cp\u003ePatricia Sullivan, Progressive Party Oral History Interviews. Special Collections Department, Robert W. Woodruff Library, Emory University. (Includes oral history interview with Claude Pepper)\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Peter A. Corning, Social Security Project, Reminiscences of Claude Denson Pepper : Oral History, 1967. Oral History Research Office, Columbia University.","Claude Pepper, Scrapbooks. Department of Special Collections, University of Florida Libraries.","Roosevelt, Franklin D., President's alphabetical file, 1933-1945. Franklin D. Roosevelt Library.","Patricia Sullivan, Progressive Party Oral History Interviews. Special Collections Department, Robert W. Woodruff Library, Emory University. (Includes oral history interview with Claude Pepper)"],"scopecontent_html_tesm":["\u003cp\u003eContaining over two million pages, the Claude Pepper Papers includes his official correspondence, speeches, legislative, committee, and campaign files. In addition, there are files of his personal correspondence, speeches, photographs, recordings, and memorabilia. Also included are the personal papers, photographs, recordings, and memorabilia of his wife, Mildred Irene Webster Pepper. Mrs. Pepper always took a deep interest in public affairs and in helping her husband in his political career. She vigorously supported medical research, urban beautification, conservation, and actively participated in charitable and humanitarian organizations. There are also personal papers of the Pepper/Webster family, largely consisting of correspondence from parents, brothers, sisters, and other family members.\u003c/p\u003e\n","\u003cp\u003eThese materials document the political and personal life of one of the most politically active individuals throughout most of this century, and in terms of size, content, and national significance, they have been compared to prestigious presidential collections, including the Papers of President Franklin D. Roosevelt. In addition to its value to historical research, these materials will enable current policy makers to build upon Claude Pepper's achievements as they continue to focus on his unfinished work. Because of his legacy, it is vital that the Claude Pepper Collection should always be accessible and preserved for future generations of scholars and researchers. Personal letters from Winston Churchill, Franklin D. and Eleanor Roosevelt, Harry S. Truman, and John F. Kennedy are among the treasures to be found here. The photographs include many individuals of historical significance, such as Pope Paul VI, Albert Einstein, and Martin Luther King, Jr. There are also recordings of such political notables as Lyndon Johnson, Tip O'Neill, and Hubert Humphrey. The Pepper Collection not only documents the career of one of the most politically active individuals of this century, it reflects the changes that have taken place in every area of American life. It contains a wealth of material on a variety of topics. Research using the Pepper Collection has focused on topics as diverse as the World War II \"Mother's Movement,\" American Indian land claims, national health care, Social Security, the Vietnamese conflict, and organized labor. Currently, the collection is being digitized to provide researchers with the opportunity to study his collection from anywhere around the world.\u003c/p\u003e","\u003cp\u003eSelect materials from the Claude Pepper Papers have been digitized and are available through the \u003cextref href=\"http://diginole.lib.fsu.edu/islandora/object/fsu%3Aclaudepeppermaincollection\"\u003eFSU Digital Library\u003c/extref\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Online Copies Available"],"scopecontent_tesim":["Containing over two million pages, the Claude Pepper Papers includes his official correspondence, speeches, legislative, committee, and campaign files. In addition, there are files of his personal correspondence, speeches, photographs, recordings, and memorabilia. Also included are the personal papers, photographs, recordings, and memorabilia of his wife, Mildred Irene Webster Pepper. Mrs. Pepper always took a deep interest in public affairs and in helping her husband in his political career. She vigorously supported medical research, urban beautification, conservation, and actively participated in charitable and humanitarian organizations. There are also personal papers of the Pepper/Webster family, largely consisting of correspondence from parents, brothers, sisters, and other family members.","These materials document the political and personal life of one of the most politically active individuals throughout most of this century, and in terms of size, content, and national significance, they have been compared to prestigious presidential collections, including the Papers of President Franklin D. Roosevelt. In addition to its value to historical research, these materials will enable current policy makers to build upon Claude Pepper's achievements as they continue to focus on his unfinished work. Because of his legacy, it is vital that the Claude Pepper Collection should always be accessible and preserved for future generations of scholars and researchers. Personal letters from Winston Churchill, Franklin D. and Eleanor Roosevelt, Harry S. Truman, and John F. Kennedy are among the treasures to be found here. The photographs include many individuals of historical significance, such as Pope Paul VI, Albert Einstein, and Martin Luther King, Jr. There are also recordings of such political notables as Lyndon Johnson, Tip O'Neill, and Hubert Humphrey. The Pepper Collection not only documents the career of one of the most politically active individuals of this century, it reflects the changes that have taken place in every area of American life. It contains a wealth of material on a variety of topics. Research using the Pepper Collection has focused on topics as diverse as the World War II \"Mother's Movement,\" American Indian land claims, national health care, Social Security, the Vietnamese conflict, and organized labor. Currently, the collection is being digitized to provide researchers with the opportunity to study his collection from anywhere around the world.","Select materials from the Claude Pepper Papers have been digitized and are available through the  FSU Digital Library ."],"userestrict_html_tesm":["\u003cp\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026amp; Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_59cdc344ccbf964b456e94c25aa79f8c\"\u003eClaude Pepper Library\u003c/physloc\u003e"],"physloc_tesim":["Claude Pepper Library"],"names_coll_ssim":["United States. Congress. Senate","Pepper, Claude, 1900-1989"],"names_ssim":["FSU Special Collections \u0026 Archives","United States. Congress. Senate","Pepper, Claude D.","Pepper, Claude, 1900-1989"],"corpname_ssim":["FSU Special Collections \u0026 Archives","United States. Congress. 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Subject files are arranged according to alphabetical order.","Diana Estorino was born in Matanzas, Cuba on September 21, 1951. She became a naturalized citizen of the United States in 1978 and worked as an electroencephalographic technologist in Tampa, FL. Estorino was very active in the Bay area's LGBTQ+ organizing and social community. Estorino served as an officer in the Suncoast Pride Coalition and also worked with groups such as the Women's Energy bank and Tampa Salon to host social, educational, and activist forums.  Estorino founded and edited the lesbian feminist periodical, Network News in 1990. She died on December 8, 2015.","published","This collection includes subject files, organizational records, correspondence, clippings, ephemera, periodicals, and publications related to LGBTQ+ life and activism in the Tampa Bay area, as well as related national organizations.","Oversized graphic materials stored in a horizontal folder separate from the collection.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","This collection comprises the personal and professional papers of Diana Estorino, an activist in Tampa Bay's LGBTQ+ community.","USF Libraries - Tampa Special Collections","Estorino, Diana, 1951-2015","English"],"unitid_tesim":["MS-2015-07","/repositories/2/resources/33"],"normalized_date_ssm":["1975-2015, Date acquired: 00/00/2015, bulk 1987-1996"],"normalized_title_ssm":["Diana Estorino papers, 1975-2015, Date acquired: 00/00/2015, bulk 1987-1996"],"collection_title_tesim":["Diana Estorino papers, 1975-2015, Date acquired: 00/00/2015, bulk 1987-1996"],"collection_ssim":["Diana Estorino papers, 1975-2015, Date acquired: 00/00/2015, bulk 1987-1996"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Estorino, Diana, 1951-2015"],"creator_ssim":["Estorino, Diana, 1951-2015"],"creator_persname_ssim":["Estorino, Diana, 1951-2015"],"creators_ssim":["Estorino, Diana, 1951-2015"],"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":["Cuban Americans -- Florida -- Tampa","Lesbian activism -- Tampa (Fla.)","Lesbian and gay experience","Queer community ","Queer culture","LGBTQ+ activists","LGBTQ+ advocacy","LGBTQ+ movement","LGBTQ+ History","Latino/a/x LGBTQ+ people","Latino/a/x lesbians","Lesbian periodicals"],"access_subjects_ssm":["Cuban Americans -- Florida -- Tampa","Lesbian activism -- Tampa (Fla.)","Lesbian and gay experience","Queer community ","Queer culture","LGBTQ+ activists","LGBTQ+ advocacy","LGBTQ+ movement","LGBTQ+ History","Latino/a/x LGBTQ+ people","Latino/a/x lesbians","Lesbian periodicals"],"has_online_content_ssim":["false"],"extent_ssm":["8.5 Linear Feet","17 boxes","1 folders Oversized graphic materials stored in a horizontal folder separate from the collection."],"extent_tesim":["8.5 Linear Feet","17 boxes","1 folders Oversized graphic materials stored in a horizontal folder separate from the collection."],"genreform_ssim":["Lesbian periodicals"],"date_range_isim":[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],"arrangement_html_tesm":["\u003cp\u003eMaterials are organized according to type, chronology, and geographic location. Subject files are arranged according to alphabetical order.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials are organized according to type, chronology, and geographic location. Subject files are arranged according to alphabetical order."],"bioghist_html_tesm":["\u003cp\u003eDiana Estorino was born in Matanzas, Cuba on September 21, 1951. She became a naturalized citizen of the United States in 1978 and worked as an electroencephalographic technologist in Tampa, FL. Estorino was very active in the Bay area's LGBTQ+ organizing and social community. Estorino served as an officer in the Suncoast Pride Coalition and also worked with groups such as the Women's Energy bank and Tampa Salon to host social, educational, and activist forums.  Estorino founded and edited the lesbian feminist periodical, Network News in 1990. She died on December 8, 2015.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Diana Estorino was born in Matanzas, Cuba on September 21, 1951. She became a naturalized citizen of the United States in 1978 and worked as an electroencephalographic technologist in Tampa, FL. Estorino was very active in the Bay area's LGBTQ+ organizing and social community. Estorino served as an officer in the Suncoast Pride Coalition and also worked with groups such as the Women's Energy bank and Tampa Salon to host social, educational, and activist forums.  Estorino founded and edited the lesbian feminist periodical, Network News in 1990. She died on December 8, 2015."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eDiana Estorino Papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Diana Estorino Papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThis collection includes subject files, organizational records, correspondence, clippings, ephemera, periodicals, and publications related to LGBTQ+ life and activism in the Tampa Bay area, as well as related national organizations.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection includes subject files, organizational records, correspondence, clippings, ephemera, periodicals, and publications related to LGBTQ+ life and activism in the Tampa Bay area, as well as related national organizations."],"separatedmaterial_html_tesm":["\u003cp\u003eOversized graphic materials stored in a horizontal folder separate from the collection.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Oversized graphic materials stored in a horizontal folder separate from the collection."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_bbebf6fa85d366722fcfd5026c1b1ac8\" label=\"Abstract\"\u003eThis collection comprises the personal and professional papers of Diana Estorino, an activist in Tampa Bay's LGBTQ+ community.\u003c/abstract\u003e"],"abstract_tesim":["This collection comprises the personal and professional papers of Diana Estorino, an activist in Tampa Bay's LGBTQ+ community."],"names_ssim":["USF Libraries - 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