{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65117\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65116\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65118\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65767\u0026view=compact"},"meta":{"pages":{"current_page":65117,"next_page":65118,"prev_page":65116,"total_pages":65767,"limit_value":10,"offset_value":651160,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"9295ab59f6671b5f8925101a_aspace_74005","type":"Item","attributes":{"title":"Wooded Area, 1962","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/9295ab59f6671b5f8925101a_aspace_74005#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eWooded area in North Carolina\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/9295ab59f6671b5f8925101a_aspace_74005#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_74005","ref_ssm":["aspace_74005","aspace_74005"],"id":"9295ab59f6671b5f8925101a_aspace_74005","title_filing_ssi":"Wooded Area","title_ssm":["Wooded Area"],"title_tesim":["Wooded Area"],"unitdate_other_ssim":["1962"],"normalized_date_ssm":["1962"],"normalized_title_ssm":["Wooded Area, 1962"],"text":["Wooded Area, 1962","Marion Rinhart Photographs Collection, 1860-1952, bulk 1875-1934","Marian Rinhart Photographic Slides","Item 153","/repositories/2/archival_objects/50306","2\"X2\" Color photographic slide","box 18","Rinhart","Wooded area in North Carolina"],"component_level_isim":[2],"parent_ids_ssim":["9295ab59f6671b5f8925101a","9295ab59f6671b5f8925101a_aspace_73985"],"parent_unittitles_ssm":["Marion Rinhart Photographs Collection, 1860-1952, bulk 1875-1934","Marian Rinhart Photographic Slides"],"parent_unittitles_tesim":["Marion Rinhart Photographs Collection, 1860-1952, bulk 1875-1934","Marian Rinhart Photographic Slides"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["Item 153","/repositories/2/archival_objects/50306"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["Marion Rinhart Photographs Collection, 1860-1952, bulk 1875-1934"],"physdesc_tesim":["2\"X2\" Color photographic slide"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1194,"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 18"],"odd_html_tesm":["\u003cp\u003eRinhart\u003c/p\u003e"],"odd_heading_ssm":["Creator"],"odd_tesim":["Rinhart"],"scopecontent_html_tesm":["\u003cp\u003eWooded area in North Carolina\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Wooded area in North Carolina"],"_nest_path_":"/components#9/components#18","_nest_parent_":"9295ab59f6671b5f8925101a_aspace_73985","_root_":"9295ab59f6671b5f8925101a","_version_":1870841756013035520,"timestamp":"2026-07-16T03:48:52.675Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"9295ab59f6671b5f8925101a","title_ssm":["Marion Rinhart Photographs Collection"],"title_tesim":["Marion Rinhart Photographs Collection"],"ead_ssi":"9295ab59f6671b5f8925101a","unitdate_ssm":["1860-1952","1875-1934"],"unitdate_bulk_ssim":["1875-1934"],"unitdate_inclusive_ssm":["1860-1952"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC00026","/repositories/2/resources/146"],"text":["SPC00026","/repositories/2/resources/146","Marion Rinhart Photographs Collection, 1860-1952, bulk 1875-1934","Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","In 2014, Leslie Siegel processed this collection.","This collection consists of both original and reproduced photographs from the late nineteenth and early twentieth centuries. Subjects include Florida, New Jersey resorts, New York, children, the work of Jesse Wooley, and the photograph album of Aubrey Howell. Also included are more than eighty stereo cards from the 1800s which appear three-dimensional through the use of a stereoscope.  The original Rinhart collection of photos, daguerreotypes, ambrotypes and tintypes was donated to the University of Miami,  Otto Richter Library  in Coral Gables, Florida.","The Rinharts also donated a collection of American and European prints from the 1800s that were originally part of a Shaker woman's scrapbook.","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","Marion Rinhart","English"],"unitid_tesim":["SPC00026","/repositories/2/resources/146"],"normalized_date_ssm":["1860-1952, bulk 1875-1934"],"normalized_title_ssm":["Marion Rinhart Photographs Collection, 1860-1952, bulk 1875-1934"],"collection_title_tesim":["Marion Rinhart Photographs Collection, 1860-1952, bulk 1875-1934"],"collection_ssim":["Marion Rinhart Photographs Collection, 1860-1952, bulk 1875-1934"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"creator_ssm":["Marion Rinhart"],"creator_ssim":["Marion Rinhart"],"creator_persname_ssim":["Marion Rinhart"],"creators_ssim":["Marion Rinhart"],"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":["18.00 Linear Feet","18 clamshell boxes other_unmapped"],"extent_tesim":["18.00 Linear Feet","18 clamshell boxes other_unmapped"],"date_range_isim":[1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.\u003c/p\u003e\n","\u003cp\u003ePhotocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series, if any; Box and item number; University Archives; Florida Atlantic University Libraries, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series, if any; Box and item number; University Archives; Florida Atlantic University Libraries, Florida."],"processinfo_html_tesm":["\u003cp\u003eIn 2014, Leslie Siegel processed this collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2014, Leslie Siegel processed this collection."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of both original and reproduced photographs from the late nineteenth and early twentieth centuries. Subjects include Florida, New Jersey resorts, New York, children, the work of Jesse Wooley, and the photograph album of Aubrey Howell. Also included are more than eighty stereo cards from the 1800s which appear three-dimensional through the use of a stereoscope.\u0026#xA0; The original Rinhart collection of photos, daguerreotypes, ambrotypes and tintypes was donated to the University of Miami, \u003cextref href=\"http://proust.library.miami.edu/favicon.ico\"\u003eOtto Richter Library\u003c/extref\u003e in Coral Gables, Florida.\u003c/p\u003e\n","\u003cp\u003eThe Rinharts also donated a collection of American and European prints from the 1800s that were originally part of a Shaker woman's scrapbook.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of both original and reproduced photographs from the late nineteenth and early twentieth centuries. Subjects include Florida, New Jersey resorts, New York, children, the work of Jesse Wooley, and the photograph album of Aubrey Howell. Also included are more than eighty stereo cards from the 1800s which appear three-dimensional through the use of a stereoscope.  The original Rinhart collection of photos, daguerreotypes, ambrotypes and tintypes was donated to the University of Miami,  Otto Richter Library  in Coral Gables, Florida.","The Rinharts also donated a collection of American and European prints from the 1800s that were originally part of a Shaker woman's scrapbook."],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.\u003c/p\u003e\n","\u003cp\u003eWhen using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.\u003c/p\u003e\n","\u003cp\u003eShould the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact \u003ca href=\"mailto:lysca@fau.edu\"\u003eSpecial Collections\u003c/a\u003e.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"names_ssim":["Florida Atlantic University Libraries","Marion Rinhart"],"corpname_ssim":["Florida Atlantic University Libraries"],"persname_ssim":["Marion Rinhart"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1239,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870841756013035520,"_root_":"9295ab59f6671b5f8925101a","timestamp":"2026-07-16T03:48:52.675Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/9295ab59f6671b5f8925101a_aspace_74005"}},{"id":"18ce43a3c782b797db9fa781_aspace_178991","type":"Item","attributes":{"title":"[Wooded campsite]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_178991#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_178991#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_178991","ref_ssm":["aspace_178991","aspace_178991"],"id":"18ce43a3c782b797db9fa781_aspace_178991","title_filing_ssi":"[Wooded campsite]","title_ssm":["[Wooded campsite]"],"title_tesim":["[Wooded campsite]"],"normalized_title_ssm":["[Wooded campsite]"],"text":["[Wooded campsite]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Santa Barbara, San Jose, Monterey, San Francisco","Item 25","/repositories/2/archival_objects/82780","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179825","18ce43a3c782b797db9fa781_aspace_178966"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Santa Barbara, San Jose, Monterey, San Francisco"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Santa Barbara, San Jose, Monterey, San Francisco"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 25","/repositories/2/archival_objects/82780"],"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":1195,"parent_access_restrict_tesm":["Fragile materials served by appointment. Gloves required."],"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"scopecontent_html_tesm":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Black and white photograph."],"_nest_path_":"/components#22/components#1/components#24","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_178966","_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_178991"}},{"id":"83f92d0a0a882d51dcaee274_aspace_604685ecd13c4ddcd6b822c189100ffb","type":"File","attributes":{"title":"Wood Edge, 1989","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/83f92d0a0a882d51dcaee274_aspace_604685ecd13c4ddcd6b822c189100ffb#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_604685ecd13c4ddcd6b822c189100ffb","ref_ssm":["aspace_604685ecd13c4ddcd6b822c189100ffb","aspace_604685ecd13c4ddcd6b822c189100ffb"],"id":"83f92d0a0a882d51dcaee274_aspace_604685ecd13c4ddcd6b822c189100ffb","title_filing_ssi":"Wood Edge","title_ssm":["Wood Edge"],"title_tesim":["Wood Edge"],"unitdate_other_ssim":["1989"],"normalized_date_ssm":["1989"],"normalized_title_ssm":["Wood Edge, 1989"],"text":["Wood Edge, 1989","Southwest Florida Regional Planning Council Collection, 1920-2020","DRI's W","Modification, 1977-2003","/repositories/2/archival_objects/42368","Developmental Regional Impact (DRI)","English","box 140","folder 11"],"component_level_isim":[3],"parent_ids_ssim":["83f92d0a0a882d51dcaee274","83f92d0a0a882d51dcaee274_aspace_f48cd7ee149ecf808cf42ae3cdfe7648","83f92d0a0a882d51dcaee274_aspace_a262ef6566b7ff36d21b882e09051f5c"],"parent_unittitles_ssm":["Southwest Florida Regional Planning Council Collection, 1920-2020","DRI's W","Modification, 1977-2003"],"parent_unittitles_tesim":["Southwest Florida Regional Planning Council Collection, 1920-2020","DRI's W","Modification, 1977-2003"],"parent_levels_ssm":["collection","Series","Subgroup"],"unitid_ssm":["/repositories/2/archival_objects/42368"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"collection_ssim":["Southwest Florida Regional Planning Council Collection, 1920-2020"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":4746,"parent_access_restrict_tesm":["The collection is open for use by the public."],"date_range_isim":[1989],"access_subjects_ssim":["Developmental Regional Impact (DRI)"],"access_subjects_ssm":["Developmental Regional Impact (DRI)"],"language_ssim":["English"],"containers_ssim":["box 140","folder 11"],"_nest_path_":"/components#106/components#0/components#10","_nest_parent_":"83f92d0a0a882d51dcaee274_aspace_a262ef6566b7ff36d21b882e09051f5c","_root_":"83f92d0a0a882d51dcaee274","_version_":1879903291767259136,"timestamp":"2026-10-24T04:18:06.636Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"83f92d0a0a882d51dcaee274","title_ssm":["Southwest Florida Regional Planning Council Collection"],"title_tesim":["Southwest Florida Regional Planning Council Collection"],"ead_ssi":"83f92d0a0a882d51dcaee274","unitdate_ssm":["1920-2020"],"unitdate_inclusive_ssm":["1920-2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["02.03.11","/repositories/2/resources/69"],"text":["02.03.11","/repositories/2/resources/69","Southwest Florida Regional Planning Council Collection, 1920-2020","Urban Planning","Environmental planning","The collection is open for use by the public.","Oversized maps within the Southwest Regional Planning Council are published and described in the  Southwest Florida Map Collection .","Southwest Florida (SWFL) has a unique environmental ecosystem consisting of preserves, sanctuaries, swamps, estuaries, and coastlines. 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Navy--History--20th century","Cargo ships--United States","World War, 1939-1945--Transportation--United States","World War, 1939-1945--Naval operations","World War, 1939-1945--Campaigns--Japan--Okinawa Island","Kamikaze airplanes","World War, 1939-1945","This collection is open to all researchers.","\tHenry Fremont \"Jack\" Blake was born on April 21, 1912, and passed away on February 17, 2006, in Tallahassee. Due to illness, he resided in Tallahassee, FL, for several years prior to his death. He was a native Floridian, born in Jacksonville, but lived in Palatka from a very young age. Jack, as he was known to all, worked with his father and brothers, Robert and Wilmer, at Blake's Inc., a wholesale dry goods business and later began his own vending business, Vend-A-Pack. 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It was here that Blake photographed the devastation which resulted from the Atom Bomb dropped on August 9, 1945.","After the war, he enjoyed a number of hobbies and interests that he pursued over the course of his life which included fishing, hunting, flying airplanes, woodworking and bridge, integrity, hard work, service to his community and devoted to his family characterized his life. He was preceded in death by his wife of 52 years, Mary Evelyn Blake, in 1991, and by his second wife, Marjorie Dillingham in 2003.","Note written by Palatka Daily News Obituary, February 22, 2006","This collection was donated by Sylvia B. Walford (Daughter of Henry Blake). The collection was acquired by the Institute on World War II and the Human Experience on June 17, 2017.","Transferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026 Archives in July 2022."," Related collection, accession # 08.0115,  by same donor for Henry Fremont Blake Collection.","This collection relates to Henry Fremont Blake who served in the United States Navy in the Pacific Theater as a Store Keeper 2nd Class during World War II aboard the U.S.S. Tyrrell (AKA-80).  The collection includes personal items and artifacts.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","FSU Special Collections \u0026 Archives","Blake, Henry Fremont","English"],"unitid_tesim":["17.0009","/repositories/10/resources/173"],"normalized_date_ssm":["1943-1946, Date acquired: 06/17/2017"],"normalized_title_ssm":["Henry Fremont Blake collection, 1943-1946, Date acquired: 06/17/2017"],"collection_title_tesim":["Henry Fremont Blake collection, 1943-1946, Date acquired: 06/17/2017"],"collection_ssim":["Henry Fremont Blake collection, 1943-1946, Date acquired: 06/17/2017"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"geogname_ssm":["Palatka (Fla.)","Jacksonville (Fla.)"],"geogname_ssim":["Palatka (Fla.)","Jacksonville (Fla.)"],"creator_ssm":["Blake, Henry Fremont"],"creator_ssim":["Blake, Henry Fremont"],"creator_persname_ssim":["Blake, Henry Fremont"],"creators_ssim":["Blake, Henry Fremont"],"places_ssim":["Palatka (Fla.)","Jacksonville (Fla.)"],"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":["Sylvia B. Walford  (Daughter of Henry Blake)","Donation"],"access_subjects_ssim":["Nagasaki-shi (Japan)--History--Bombardment, 1945","United States. Navy--History--20th century","Cargo ships--United States","World War, 1939-1945--Transportation--United States","World War, 1939-1945--Naval operations","World War, 1939-1945--Campaigns--Japan--Okinawa Island","Kamikaze airplanes","World War, 1939-1945"],"access_subjects_ssm":["Nagasaki-shi (Japan)--History--Bombardment, 1945","United States. Navy--History--20th century","Cargo ships--United States","World War, 1939-1945--Transportation--United States","World War, 1939-1945--Naval operations","World War, 1939-1945--Campaigns--Japan--Okinawa Island","Kamikaze airplanes","World War, 1939-1945"],"has_online_content_ssim":["false"],"extent_ssm":["1 items","1 Linear Feet Full box"],"extent_tesim":["1 items","1 Linear Feet Full box"],"date_range_isim":[1943,1944,1945,1946,2017],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers."],"bioghist_html_tesm":["\u003cp\u003e\tHenry Fremont \"Jack\" Blake was born on April 21, 1912, and passed away on February 17, 2006, in Tallahassee. Due to illness, he resided in Tallahassee, FL, for several years prior to his death. He was a native Floridian, born in Jacksonville, but lived in Palatka from a very young age. Jack, as he was known to all, worked with his father and brothers, Robert and Wilmer, at Blake's Inc., a wholesale dry goods business and later began his own vending business, Vend-A-Pack. He was an active community leader, serving as president of Rotary and the Palatka Chamber of Commerce and was a member of First Baptist Church.\u003c/p\u003e\n","\u003cp\u003eHe was also a WW II veteran, serving in the U.S. Navy in the Pacific aboard the USS Tyrrell (AKA-80) as a Store Keeper 2nd Class. Henry Fremont Blake entered service on November 20, 1943 and was discharged on March 8, 1946. The U.S.S. Tyrrell participated in the initial landings on Okinawa on April 1, 1945.\u0026#xA0; A kamikaze struck the Tyrrell on April 2, 1945, causing some damage. In September 1945, the Tyrrell arrived at Nagasaki, Japan to disembark troops and supplies. It was here that Blake photographed the devastation which resulted from the Atom Bomb dropped on August 9, 1945.\u003c/p\u003e\n","\u003cp\u003eAfter the war, he enjoyed a number of hobbies and interests that he pursued over the course of his life which included fishing, hunting, flying airplanes, woodworking and bridge, integrity, hard work, service to his community and devoted to his family characterized his life. He was preceded in death by his wife of 52 years, Mary Evelyn Blake, in 1991, and by his second wife, Marjorie Dillingham in 2003.\u003c/p\u003e\n","\u003cp\u003eNote written by Palatka Daily News Obituary, February 22,\u0026#xA0;2006\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["\tHenry Fremont \"Jack\" Blake was born on April 21, 1912, and passed away on February 17, 2006, in Tallahassee. Due to illness, he resided in Tallahassee, FL, for several years prior to his death. He was a native Floridian, born in Jacksonville, but lived in Palatka from a very young age. Jack, as he was known to all, worked with his father and brothers, Robert and Wilmer, at Blake's Inc., a wholesale dry goods business and later began his own vending business, Vend-A-Pack. He was an active community leader, serving as president of Rotary and the Palatka Chamber of Commerce and was a member of First Baptist Church.","He was also a WW II veteran, serving in the U.S. Navy in the Pacific aboard the USS Tyrrell (AKA-80) as a Store Keeper 2nd Class. Henry Fremont Blake entered service on November 20, 1943 and was discharged on March 8, 1946. The U.S.S. Tyrrell participated in the initial landings on Okinawa on April 1, 1945.  A kamikaze struck the Tyrrell on April 2, 1945, causing some damage. In September 1945, the Tyrrell arrived at Nagasaki, Japan to disembark troops and supplies. It was here that Blake photographed the devastation which resulted from the Atom Bomb dropped on August 9, 1945.","After the war, he enjoyed a number of hobbies and interests that he pursued over the course of his life which included fishing, hunting, flying airplanes, woodworking and bridge, integrity, hard work, service to his community and devoted to his family characterized his life. He was preceded in death by his wife of 52 years, Mary Evelyn Blake, in 1991, and by his second wife, Marjorie Dillingham in 2003.","Note written by Palatka Daily News Obituary, February 22, 2006"],"custodhist_html_tesm":["\u003cp\u003eThis collection was donated by Sylvia B. Walford (Daughter of Henry Blake). The collection was acquired by the Institute on World War II and the Human Experience on June 17, 2017.\u003c/p\u003e","\u003cp\u003eTransferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026amp; Archives in July 2022.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History","Custodial History"],"custodhist_tesim":["This collection was donated by Sylvia B. Walford (Daughter of Henry Blake). The collection was acquired by the Institute on World War II and the Human Experience on June 17, 2017.","Transferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026 Archives in July 2022."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], [Box and Folder number], Henry Fremont Blake collection, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/WWII_17_0009\"\u003ehttp://purl.fcla.edu/fsu/WWII_17_0009\u003c/extref\u003e.\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], [Box and Folder number], Henry Fremont Blake collection, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/WWII_17_0009 ."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003cemph render=\"italic\"\u003e\u003cemph render=\"bold\"\u003e Related collection, accession # 08.0115,\u0026#xA0; by same donor for Henry Fremont Blake Collection.\u003c/emph\u003e\u003c/emph\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":[" Related collection, accession # 08.0115,  by same donor for Henry Fremont Blake Collection."],"scopecontent_html_tesm":["\u003cp\u003eThis collection relates to Henry Fremont Blake who served in the United States Navy in the Pacific Theater as a Store Keeper 2nd Class during World War II aboard the U.S.S. Tyrrell (AKA-80).\u0026#xA0; The collection includes personal items and artifacts.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection relates to Henry Fremont Blake who served in the United States Navy in the Pacific Theater as a Store Keeper 2nd Class during World War II aboard the U.S.S. Tyrrell (AKA-80).  The collection includes personal items and artifacts."],"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."],"names_ssim":["FSU Special Collections \u0026 Archives","Blake, Henry Fremont"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"persname_ssim":["Blake, Henry Fremont"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":17,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"51be9476dae6563ee0d7a25c","timestamp":"2026-07-10T05:12:37.668Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/51be9476dae6563ee0d7a25c_aspace_207651"}},{"id":"2beec22bab84d91dd3bbf427_aspace_6efe34b7c34e3f32760d7cce2910ea9f","type":"File","attributes":{"title":"Wooden Annie Pfeiffer Chapel Replica - The Cat's Meow Co., 1994","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2beec22bab84d91dd3bbf427_aspace_6efe34b7c34e3f32760d7cce2910ea9f#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_6efe34b7c34e3f32760d7cce2910ea9f","ref_ssm":["aspace_6efe34b7c34e3f32760d7cce2910ea9f","aspace_6efe34b7c34e3f32760d7cce2910ea9f"],"id":"2beec22bab84d91dd3bbf427_aspace_6efe34b7c34e3f32760d7cce2910ea9f","title_filing_ssi":"Wooden Annie Pfeiffer Chapel Replica - The Cat's Meow Co.","title_ssm":["Wooden Annie Pfeiffer Chapel Replica - The Cat's Meow Co."],"title_tesim":["Wooden Annie Pfeiffer Chapel Replica - The Cat's Meow Co."],"unitdate_other_ssim":["1994"],"normalized_date_ssm":["1994"],"normalized_title_ssm":["Wooden Annie Pfeiffer Chapel Replica - The Cat's Meow Co., 1994"],"text":["Wooden Annie Pfeiffer Chapel Replica - The Cat's Meow Co., 1994","Robert G. \"Bob\" Black SAE Alumni Collection, 1947-1951, 1994, 2009, 2020","Box 1","/repositories/2/archival_objects/9747","object 2"],"component_level_isim":[2],"parent_ids_ssim":["2beec22bab84d91dd3bbf427","2beec22bab84d91dd3bbf427_aspace_2715b9f5eca2822182d7bfa59d39c64c"],"parent_unittitles_ssm":["Robert G. \"Bob\" Black SAE Alumni Collection, 1947-1951, 1994, 2009, 2020","Box 1"],"parent_unittitles_tesim":["Robert G. \"Bob\" Black SAE Alumni Collection, 1947-1951, 1994, 2009, 2020","Box 1"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["/repositories/2/archival_objects/9747"],"repository_ssim":["The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections"],"collection_ssim":["Robert G. \"Bob\" Black SAE Alumni Collection, 1947-1951, 1994, 2009, 2020"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":10,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archive's ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["The Robert G. \"Bob\" Black SAE Alumni Collection is owned by Florida Southern College. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","Please inquire if you have questions - archives@flsouthern.edu"],"date_range_isim":[1994],"containers_ssim":["object 2"],"_nest_path_":"/components#0/components#8","_nest_parent_":"2beec22bab84d91dd3bbf427_aspace_2715b9f5eca2822182d7bfa59d39c64c","_root_":"2beec22bab84d91dd3bbf427","_version_":1870851081282519040,"timestamp":"2026-07-16T06:17:06.039Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2beec22bab84d91dd3bbf427","title_ssm":["Robert G. \"Bob\" Black SAE Alumni Collection"],"title_tesim":["Robert G. \"Bob\" Black SAE Alumni Collection"],"ead_ssi":"2beec22bab84d91dd3bbf427","unitdate_ssm":["1947-1951","1994","2009","2020"],"unitdate_inclusive_ssm":["1947-1951"],"unitdate_other_ssim":["1994","2009","2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS5045","/repositories/2/resources/61"],"text":["MS5045","/repositories/2/resources/61","Robert G. \"Bob\" Black SAE Alumni Collection, 1947-1951, 1994, 2009, 2020","Black, Robert G. \"Bob\"","Sigma Alpha Epsilon","College students--Florida--History--20th century","College fraternities--Florida--History--20th century","Florida Southern College--Alumni and alumnae.","Florida Southern College--Student life","Fraternities--Membership","Photographs--Florida","Student organizations--Florida--History--20th century","Scrapbooks.","Correspondence.","Memorabilia","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archive's ability to provide access to unprocessed born digital materials.","This is a small collection, and the folders are arranged alphabetically. The scrapbook and chapel object are housed with the folders.","Robert Gordon \"Bob\" Black, (1929-2024) was a New York City native and spent his career in journalism and public relations, which continued into his retirement years.","His love affair with the printed word started in undergraduate school at Florida Southern College, class of 1951, and continued during his Army service in Korea in 1952, from his work as an editor for the 2nd Infantry Division newspaper to a sports columnist for the Stars and Stripes, a military newspaper, in Tokyo, Japan.","After the Korean War Bob attended Columbia University Graduate School of Journalism, receiving his Master of Science degree in 1955. He was a sportswriter for the Associated Press, consulting editor for Popular Science and several boating and travel magazines but always kept his hand in newspapers, free-lancing for the New York Times, the New York Herald Tribune, the St. Petersburg Times, the Tampa Bay Times and the Norwalk Hour.","Bob continued his newspaper writing on the side as he shifted his interest to public relations and worked in public relations for years as a director for the National Council on the Aging, Swissair North America and assistant director for Time Inc. In 1964 he joined the public relations firm of H. A. Bruno as an account executive and rose to the rank of executive vice-president. He supervised the Recreational Boating Industry Association and National Boat Show accounts. He organized the New York Airway Helicopter Service from New York midtown to the city's three airports.","In 1994 the Bob Black and Company Inc. Agency was formed in Connecticut, and later Bob relocated to Florida. His agency worked closely with non-profit organizations in Florida until 2018.","In 1995, 44 years after graduating from Florida Southern College, Bob returned to the school as an adjunct professor of journalism, marketing consultant and an executive committee member of the National Alumni Board. He later expanded his teaching of journalism to include the University of South Florida. He served on the board of Tilton School in Tilton, New Hampshire. Tilton School provides students with skills and experiences that empower them to navigate an ever-changing world. Bob received the 'Alumni of the Year' awards from both schools and the 'Hall of Fame Alumni Award' from the Florida Southern College Communications Department.","News and column writing were in his blood. After moving to Sun City Center, FL, he wrote columns in the NEWS of Sun City Center (SCC), The SCC Sun (a Tampa Tribune paper) and the SCC Observer. He served as deputy editor of the NEWS of SCC and since 2016 was a correspondent/contributor for the Tampa Bay Times. He served four years as a member of the board of directors and vice-president for two years for the South Shore Coalition for Mental Health and Aging in Sun City Center, an 11,000 resident community, and was the editor for the Community Resource Guide. Bob was a caring and generous man who supported local and national senior agencies, community service organizations and agencies, and schools.","Bob was born in Manhattan on July 5, 1929. He is predeceased by his parents, Eugene and Rita Black; his wife, Margarie Black; and two brothers, William Black and Eugene Black Jr. He is survived by his dedicated and loving life partner, Marcia Doscher, of Sun City Center, FL; his daughter, Patricia Kelly, of San Rafael, California, and his son, James Black, of Montclair, New Jersey; four grandchildren; one great-grandchild; a niece and nephews.","Bob had a great sense of humor and was always upbeat and positive. He loved to read and travel. When asked how he was doing, he would often say, \"If any better, I would have to go public and sell stock.\"","(Biographical information provided by The Observer News, https://www.observernews.net/2024/02/15/obituaries-for-the-week-of-february-15-2024/)","The materials in this collection reflect the creator's involvement with the Sigma Alpha Epsilon (SAE) Fraternity while he was a student at Florida Southern College. The collection contains decals, news articles, photographs, and a lookbook that was created to support the chapter's initiation into the national fraternity. Of special interest is a scrapbook created by Mr. Black. The collection also contains correspondence related to chapter reunion dinners as well as a memento of the college in the form of a small, wooden replica of Annie Pfeiffer Chapel.","The Robert G. \"Bob\" Black SAE Alumni Collection is owned by Florida Southern College. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","Please inquire if you have questions - archives@flsouthern.edu","The Sarah D. and L. 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For other uses you need to obtain permission from the rights-holder(s).","Please inquire if you have questions - archives@flsouthern.edu"],"acqinfo_ssim":["Materials were give to the archives in the fall of 2024 by Walter Manley via Dr. Mike Denham."],"access_subjects_ssim":["Black, Robert G. \"Bob\"","Sigma Alpha Epsilon","College students--Florida--History--20th century","College fraternities--Florida--History--20th century","Florida Southern College--Alumni and alumnae.","Florida Southern College--Student life","Fraternities--Membership","Photographs--Florida","Student organizations--Florida--History--20th century","Scrapbooks.","Correspondence.","Memorabilia"],"access_subjects_ssm":["Black, Robert G. \"Bob\"","Sigma Alpha Epsilon","College students--Florida--History--20th century","College fraternities--Florida--History--20th century","Florida Southern College--Alumni and alumnae.","Florida Southern College--Student life","Fraternities--Membership","Photographs--Florida","Student organizations--Florida--History--20th century","Scrapbooks.","Correspondence.","Memorabilia"],"has_online_content_ssim":["false"],"extent_ssm":["1.08 Linear Feet 1 Record Storage Container"],"extent_tesim":["1.08 Linear Feet 1 Record Storage Container"],"genreform_ssim":["Scrapbooks.","Correspondence.","Memorabilia"],"date_range_isim":[1947,1948,1949,1950,1951,1994,2009,2020],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. 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The scrapbook and chapel object are housed with the folders.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a small collection, and the folders are arranged alphabetically. The scrapbook and chapel object are housed with the folders."],"bioghist_html_tesm":["\u003cp\u003eRobert Gordon \"Bob\" Black, (1929-2024) was a New York City native and spent his career in journalism and public relations, which continued into his retirement years.\u003c/p\u003e\n","\u003cp\u003eHis love affair with the printed word started in undergraduate school at Florida Southern College, class of 1951, and continued during his Army service in Korea in 1952, from his work as an editor for the 2nd Infantry Division newspaper to a sports columnist for the Stars and Stripes, a military newspaper, in Tokyo, Japan.\u003c/p\u003e\n","\u003cp\u003eAfter the Korean War Bob attended Columbia University Graduate School of Journalism, receiving his Master of Science degree in 1955. He was a sportswriter for the Associated Press, consulting editor for Popular Science and several boating and travel magazines but always kept his hand in newspapers, free-lancing for the New York Times, the New York Herald Tribune, the St. Petersburg Times, the Tampa Bay Times and the Norwalk Hour.\u003c/p\u003e\n","\u003cp\u003eBob continued his newspaper writing on the side as he shifted his interest to public relations and worked in public relations for years as a director for the National Council on the Aging, Swissair North America and assistant director for Time Inc. In 1964 he joined the public relations firm of H. A. Bruno as an account executive and rose to the rank of executive vice-president. He supervised the Recreational Boating Industry Association and National Boat Show accounts. He organized the New York Airway Helicopter Service from New York midtown to the city's three airports.\u003c/p\u003e\n","\u003cp\u003eIn 1994 the Bob Black and Company Inc. Agency was formed in Connecticut, and later Bob relocated to Florida. His agency worked closely with non-profit organizations in Florida until 2018.\u003c/p\u003e\n","\u003cp\u003eIn 1995, 44 years after graduating from Florida Southern College, Bob returned to the school as an adjunct professor of journalism, marketing consultant and an executive committee member of the National Alumni Board. He later expanded his teaching of journalism to include the University of South Florida. He served on the board of Tilton School in Tilton, New Hampshire. Tilton School provides students with skills and experiences that empower them to navigate an ever-changing world. Bob received the 'Alumni of the Year' awards from both schools and the 'Hall of Fame Alumni Award' from the Florida Southern College Communications Department.\u003c/p\u003e\n","\u003cp\u003eNews and column writing were in his blood. After moving to Sun City Center, FL, he wrote columns in the NEWS of Sun City Center (SCC), The SCC Sun (a Tampa Tribune paper) and the SCC Observer. He served as deputy editor of the NEWS of SCC and since 2016 was a correspondent/contributor for the Tampa Bay Times. He served four years as a member of the board of directors and vice-president for two years for the South Shore Coalition for Mental Health and Aging in Sun City Center, an 11,000 resident community, and was the editor for the Community Resource Guide. Bob was a caring and generous man who supported local and national senior agencies, community service organizations and agencies, and schools.\u003c/p\u003e\n","\u003cp\u003eBob was born in Manhattan on July 5, 1929. He is predeceased by his parents, Eugene and Rita Black; his wife, Margarie Black; and two brothers, William Black and Eugene Black Jr. He is survived by his dedicated and loving life partner, Marcia Doscher, of Sun City Center, FL; his daughter, Patricia Kelly, of San Rafael, California, and his son, James Black, of Montclair, New Jersey; four grandchildren; one great-grandchild; a niece and nephews.\u003c/p\u003e\n","\u003cp\u003eBob had a great sense of humor and was always upbeat and positive. He loved to read and travel. When asked how he was doing, he would often say, \"If any better, I would have to go public and sell stock.\"\u003c/p\u003e\n","\u003cp\u003e(Biographical information provided by The Observer News, https://www.observernews.net/2024/02/15/obituaries-for-the-week-of-february-15-2024/)\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Robert Gordon \"Bob\" Black, (1929-2024) was a New York City native and spent his career in journalism and public relations, which continued into his retirement years.","His love affair with the printed word started in undergraduate school at Florida Southern College, class of 1951, and continued during his Army service in Korea in 1952, from his work as an editor for the 2nd Infantry Division newspaper to a sports columnist for the Stars and Stripes, a military newspaper, in Tokyo, Japan.","After the Korean War Bob attended Columbia University Graduate School of Journalism, receiving his Master of Science degree in 1955. He was a sportswriter for the Associated Press, consulting editor for Popular Science and several boating and travel magazines but always kept his hand in newspapers, free-lancing for the New York Times, the New York Herald Tribune, the St. Petersburg Times, the Tampa Bay Times and the Norwalk Hour.","Bob continued his newspaper writing on the side as he shifted his interest to public relations and worked in public relations for years as a director for the National Council on the Aging, Swissair North America and assistant director for Time Inc. In 1964 he joined the public relations firm of H. A. Bruno as an account executive and rose to the rank of executive vice-president. He supervised the Recreational Boating Industry Association and National Boat Show accounts. He organized the New York Airway Helicopter Service from New York midtown to the city's three airports.","In 1994 the Bob Black and Company Inc. Agency was formed in Connecticut, and later Bob relocated to Florida. His agency worked closely with non-profit organizations in Florida until 2018.","In 1995, 44 years after graduating from Florida Southern College, Bob returned to the school as an adjunct professor of journalism, marketing consultant and an executive committee member of the National Alumni Board. He later expanded his teaching of journalism to include the University of South Florida. He served on the board of Tilton School in Tilton, New Hampshire. Tilton School provides students with skills and experiences that empower them to navigate an ever-changing world. Bob received the 'Alumni of the Year' awards from both schools and the 'Hall of Fame Alumni Award' from the Florida Southern College Communications Department.","News and column writing were in his blood. After moving to Sun City Center, FL, he wrote columns in the NEWS of Sun City Center (SCC), The SCC Sun (a Tampa Tribune paper) and the SCC Observer. He served as deputy editor of the NEWS of SCC and since 2016 was a correspondent/contributor for the Tampa Bay Times. He served four years as a member of the board of directors and vice-president for two years for the South Shore Coalition for Mental Health and Aging in Sun City Center, an 11,000 resident community, and was the editor for the Community Resource Guide. Bob was a caring and generous man who supported local and national senior agencies, community service organizations and agencies, and schools.","Bob was born in Manhattan on July 5, 1929. He is predeceased by his parents, Eugene and Rita Black; his wife, Margarie Black; and two brothers, William Black and Eugene Black Jr. He is survived by his dedicated and loving life partner, Marcia Doscher, of Sun City Center, FL; his daughter, Patricia Kelly, of San Rafael, California, and his son, James Black, of Montclair, New Jersey; four grandchildren; one great-grandchild; a niece and nephews.","Bob had a great sense of humor and was always upbeat and positive. He loved to read and travel. When asked how he was doing, he would often say, \"If any better, I would have to go public and sell stock.\"","(Biographical information provided by The Observer News, https://www.observernews.net/2024/02/15/obituaries-for-the-week-of-february-15-2024/)"],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection reflect the creator's involvement with the Sigma Alpha Epsilon (SAE) Fraternity while he was a student at Florida Southern College. The collection contains decals, news articles, photographs, and a lookbook that was created to support the chapter's initiation into the national fraternity. Of special interest is a scrapbook created by Mr. Black. The collection also contains correspondence related to chapter reunion dinners as well as a memento of the college in the form of a small, wooden replica of Annie Pfeiffer Chapel.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection reflect the creator's involvement with the Sigma Alpha Epsilon (SAE) Fraternity while he was a student at Florida Southern College. The collection contains decals, news articles, photographs, and a lookbook that was created to support the chapter's initiation into the national fraternity. Of special interest is a scrapbook created by Mr. Black. The collection also contains correspondence related to chapter reunion dinners as well as a memento of the college in the form of a small, wooden replica of Annie Pfeiffer Chapel."],"userestrict_html_tesm":["\u003cp\u003eThe Robert G. \"Bob\" Black SAE Alumni Collection is owned by Florida Southern College. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e\n","\u003cp\u003ePlease inquire if you have questions - archives@flsouthern.edu\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Robert G. \"Bob\" Black SAE Alumni Collection is owned by Florida Southern College. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","Please inquire if you have questions - archives@flsouthern.edu"],"names_ssim":["The Sarah D. and L. Kirk McKay, Jr. Archives Center Manuscript Collections","Black, Robert G. \"Bob\""],"corpname_ssim":["The Sarah D. and L. 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Garland collection on the reassessment of the Robert F. Kennedy Assassination, 1974-1988, Date acquired: 02/15/2007","Box 1","Photographs","Item 4","/repositories/2/archival_objects/57894","box 1","folder 18","Item 4"],"component_level_isim":[3],"parent_ids_ssim":["65405f390a6889b2dd723b2a","65405f390a6889b2dd723b2a_aspace_335","65405f390a6889b2dd723b2a_aspace_371"],"parent_unittitles_ssm":["Patrick V. Garland collection on the reassessment of the Robert F. Kennedy Assassination, 1974-1988, Date acquired: 02/15/2007","Box 1","Photographs"],"parent_unittitles_tesim":["Patrick V. Garland collection on the reassessment of the Robert F. Kennedy Assassination, 1974-1988, Date acquired: 02/15/2007","Box 1","Photographs"],"parent_levels_ssm":["collection","Box","File"],"unitid_ssm":["Item 4","/repositories/2/archival_objects/57894"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Patrick V. Garland collection on the reassessment of the Robert F. Kennedy Assassination, 1974-1988, Date acquired: 02/15/2007"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":40,"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 1","folder 18","Item 4"],"_nest_path_":"/components#0/components#17/components#3","_nest_parent_":"65405f390a6889b2dd723b2a_aspace_371","_root_":"65405f390a6889b2dd723b2a","_version_":1870862895419490304,"timestamp":"2026-07-16T09:24:52.877Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"65405f390a6889b2dd723b2a","title_ssm":["Patrick V. Garland collection on the reassessment of the Robert F. Kennedy Assassination"],"title_tesim":["Patrick V. Garland collection on the reassessment of the Robert F. 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The court appointed Patrick Garland and six other prominent forensic firearms experts to conduct the reexamination and determine if the firearms-related evidence provided any basis for the second gunman theory. Elected chairman of the expert panel by his colleagues, Garland coordinated the panel's work and presented its findings to the court. The panel concluded that, contrary to claims, there was no difference in the number of cannelures on the bullets, no difference in rifling clarity or angles not accounted for by impact damage, and that nothing in the firearms evidence indicated that a second gun was used in the Kennedy assassination.","Note written by PEC, 2007","Kathleen Cunningham Collection on the John F. Kennedy Assassination, Special Collections, Tampa Library, University of South Florida, Tampa, Florida.","The Killing of Robert F. Kennedy: An Investigation of Motive, Means, and Opportunity by Dan E. Moldea (NY: Norton, 1995), which is located in Special Collections (General: E 840.8 K4M58 1995).","The collection consists of materials relating to Garland's work on the Kennedy case, including photographs, copies of court documents, working notes, correspondence, and copies of news articles. Accompanying the collection is a copy of  The Killing of Robert F. Kennedy: An Investigation of Motive, Means, and Opportunity  by Dan E. Moldea (NY: Norton, 1995), which is located in Special Collections (General: E 840.8 K4M58 1995).","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","Garland, Patrick V.  (1937-)","English"],"unitid_tesim":["MS-2007-03","/repositories/2/resources/363"],"normalized_date_ssm":["1974-1988, Date acquired: 02/15/2007"],"normalized_title_ssm":["Patrick V. 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Garland Collection on the Reassessment of the Robert Kennedy Assassination, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Patrick V. Garland Collection on the Reassessment of the Robert Kennedy Assassination, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eKathleen Cunningham Collection on the John F. Kennedy Assassination, Special Collections, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e","\u003cp\u003eThe Killing of Robert F. Kennedy: An Investigation of Motive, Means, and Opportunity by Dan E. Moldea (NY: Norton, 1995), which is located in Special Collections (General: E 840.8 K4M58 1995).\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Publications"],"relatedmaterial_tesim":["Kathleen Cunningham Collection on the John F. Kennedy Assassination, Special Collections, Tampa Library, University of South Florida, Tampa, Florida.","The Killing of Robert F. Kennedy: An Investigation of Motive, Means, and Opportunity by Dan E. Moldea (NY: Norton, 1995), which is located in Special Collections (General: E 840.8 K4M58 1995)."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of materials relating to Garland's work on the Kennedy case, including photographs, copies of court documents, working notes, correspondence, and copies of news articles. Accompanying the collection is a copy of \u003cemph render=\"italic\"\u003eThe Killing of Robert F. Kennedy: An Investigation of Motive, Means, and Opportunity\u003c/emph\u003e by Dan E. Moldea (NY: Norton, 1995), which is located in Special Collections (General: E 840.8 K4M58 1995).\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection consists of materials relating to Garland's work on the Kennedy case, including photographs, copies of court documents, working notes, correspondence, and copies of news articles. Accompanying the collection is a copy of  The Killing of Robert F. Kennedy: An Investigation of Motive, Means, and Opportunity  by Dan E. Moldea (NY: Norton, 1995), which is located in Special Collections (General: E 840.8 K4M58 1995)."],"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","Garland, Patrick V.  (1937-)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"names_coll_ssim":["Garland, Patrick V.  (1937-)"],"persname_ssim":["Garland, Patrick V.  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","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"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":["18.0014 - Box 15","object 007"],"scopecontent_html_tesm":["\u003cp\u003eWooden box that contained the gifts Charles sent home to Florence.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Wooden box that contained the gifts Charles sent home to Florence."],"_nest_path_":"/components#153","_nest_parent_":"9f3fcc786e2e9d0bddce4cbc","_root_":"9f3fcc786e2e9d0bddce4cbc","timestamp":"2026-07-10T05:12:38.463Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"9f3fcc786e2e9d0bddce4cbc","title_filing_ssi":"Gentges Family collection","title_ssm":["Gentges Family collection"],"title_tesim":["Gentges Family collection"],"ead_ssi":"9f3fcc786e2e9d0bddce4cbc","unitdate_ssm":["1937-2018","Date accessioned: 2018-05-07"],"unitdate_inclusive_ssm":["1937-2018"],"unitdate_other_ssim":["Date accessioned: 2018-05-07"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["18.0014","/repositories/10/resources/172"],"text":["18.0014","/repositories/10/resources/172","Gentges Family collection, 1937-2018, Date accessioned: 2018-05-07","United States. Army. Infantry Division, 34th--History.","World War, 1939-1945--Campaigns--Italy--Sicily","Salerno, Battle of, Salerno, Italy, 1943","World War, 1939-1945--Campaigns--Italy","World War, 1939-1945--Campaigns--Italy--Po River Valley","Purple Heart","This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Charles R. Gentges was born on February 12, 1918, in Farmington, Missouri. Prior to his enlistment in April of 1941, he worked as a laundry foreman who enjoyed classical music and writing. At the age of 23 the Selective Service Act of September 1940 required him to enlist. By April 1941 he was training at Camp Claiborne in Louisiana where he became a rifleman and staff sergeant for the Infantry's 113th Regiment in the 34th Infantry Division nicknamed \"Red Bull Division.\" From February 1942 to October 1944 he served in the European African Middle Eastern Theatre in the Tunisian Campaign, Rome-Arno campaign, and North Apennines Campaign. His service ended abruptly on October 19, 1944 in Cecina, Italy when he received a gunshot wound which broke his femur, for which he was awarded his third Purple Heart Medal. Aside from Purple Heart, Gentges was also awarded a Bronze Star Medal, 5 overseas service bars, one three-year service stripe, a combat infantry badge, an American defense service ribbon, and maintained good conduct throughout his service. The details of his service can be found in his memoir compiled by his daughter in 2001 and contained in the collection.\n \nIt is evident in Gentges memoirs, diary entries, and letters that he is a devout Catholic. He attended mass in both England and Ireland where he observed the Catholic/Protestant controversy and was particularly impressed with the religiosity of Ireland. When serving in Italy, he visited Rome twice where the Pope blessed his rosary. Later, Gentges became a member of the Society for the Propagation of Faith and wrote a letter to the society saying that he detested his destructive job, especially as a man of god, but understood his duty to his country. Gentges wrote \"at present I'm in the hospital with a battle injury. Soon I must return with rifle in hand to the job I detest. A man has a duty toward his country. Thus I attempt to do the best my poor abilities as a soldier will permit. Otherwise I leave everything else to whatever God wills\".  \n \nAfter officially leaving the service in August of 1945, Gentges married Florence Schwartz whom he had known since a youth on October 27, 1945 in their hometown of Farmington, Missouri. Beginning as childhood friends, Gentges admitted that once he had never had feelings for Florence, but through their letters during his service he realized his feelings for her. From then they were set to get married upon his return to the United States. Their relationship can be traced through their letters which have been copied and partially transcribed by their only daughter Mary Gentges. Charles R. Gentges passed away on February 13, 2006 and is buried along with his wife Florence and daugther Mary Elizabeth Gentges in Mount Calvary Cemetery, Saint Marys, Kansas, MO.","Transferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026 Archives in July 2022.","This collection relates to Staff Sergeant Charles R. Gentges who served with the 34th Infantry Division in the North African and Italian campaigns during World War II. He was awarded the Purple Heart Medal with two oak leaf clusters and the Bronze Star Medal. The collection also relates Charles R. Gentges' wife Florence, and daughter, Mary Elizabeth Gentges.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","FSU Special Collections \u0026 Archives","Gentges, Charles R., 1918-2006","Gentges, Florence Schwartz, 1914-2011","Gentges, Mary Elizabeth, 1947-2017","English"],"unitid_tesim":["18.0014","/repositories/10/resources/172"],"normalized_date_ssm":["1937-2018, Date accessioned: 2018-05-07"],"normalized_title_ssm":["Gentges Family collection, 1937-2018, Date accessioned: 2018-05-07"],"collection_title_tesim":["Gentges Family collection, 1937-2018, Date accessioned: 2018-05-07"],"collection_ssim":["Gentges Family collection, 1937-2018, Date accessioned: 2018-05-07"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"creator_ssm":["Gentges, Charles R., 1918-2006","Gentges, Florence Schwartz, 1914-2011","Gentges, Mary Elizabeth, 1947-2017"],"creator_ssim":["Gentges, Charles R., 1918-2006","Gentges, Florence Schwartz, 1914-2011","Gentges, Mary Elizabeth, 1947-2017"],"creator_persname_ssim":["Gentges, Charles R., 1918-2006","Gentges, Florence Schwartz, 1914-2011","Gentges, Mary Elizabeth, 1947-2017"],"creators_ssim":["Gentges, Charles R., 1918-2006","Gentges, Florence Schwartz, 1914-2011","Gentges, Mary Elizabeth, 1947-2017"],"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."],"access_subjects_ssim":["United States. Army. Infantry Division, 34th--History.","World War, 1939-1945--Campaigns--Italy--Sicily","Salerno, Battle of, Salerno, Italy, 1943","World War, 1939-1945--Campaigns--Italy","World War, 1939-1945--Campaigns--Italy--Po River Valley","Purple Heart"],"access_subjects_ssm":["United States. Army. Infantry Division, 34th--History.","World War, 1939-1945--Campaigns--Italy--Sicily","Salerno, Battle of, Salerno, Italy, 1943","World War, 1939-1945--Campaigns--Italy","World War, 1939-1945--Campaigns--Italy--Po River Valley","Purple Heart"],"has_online_content_ssim":["false"],"extent_ssm":["8 Linear Feet 14-1/2 boxes, 1-full box","1 items flag box"],"extent_tesim":["8 Linear Feet 14-1/2 boxes, 1-full box","1 items flag box"],"date_range_isim":[1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_html_tesm":["\u003cp\u003eCharles R. Gentges was born on February 12, 1918, in Farmington, Missouri. Prior to his enlistment in April of 1941, he worked as a laundry foreman who enjoyed classical music and writing. At the age of 23 the Selective Service Act of September 1940 required him to enlist. By April 1941 he was training at Camp Claiborne in Louisiana where he became a rifleman and staff sergeant for the Infantry's 113th Regiment in the 34th Infantry Division nicknamed \"Red Bull Division.\" From February 1942 to October 1944 he served in the European African Middle Eastern Theatre in the Tunisian Campaign, Rome-Arno campaign, and North Apennines Campaign. His service ended abruptly on October 19, 1944 in Cecina, Italy when he received a gunshot wound which broke his femur, for which he was awarded his third Purple Heart Medal. Aside from Purple Heart, Gentges was also awarded a Bronze Star Medal, 5 overseas service bars, one three-year service stripe, a combat infantry badge, an American defense service ribbon, and maintained good conduct throughout his service. The details of his service can be found in his memoir compiled by his daughter in 2001 and contained in the collection.\n\u003cbr\u003e\u003cbr\u003e\nIt is evident in Gentges memoirs, diary entries, and letters that he is a devout Catholic. He attended mass in both England and Ireland where he observed the Catholic/Protestant controversy and was particularly impressed with the religiosity of Ireland. When serving in Italy, he visited Rome twice where the Pope blessed his rosary. Later, Gentges became a member of the Society for the Propagation of Faith and wrote a letter to the society saying that he detested his destructive job, especially as a man of god, but understood his duty to his country. Gentges wrote \"at present I'm in the hospital with a battle injury. Soon I must return with rifle in hand to the job I detest. A man has a duty toward his country. Thus I attempt to do the best my poor abilities as a soldier will permit. Otherwise I leave everything else to whatever God wills\".  \n\u003cbr\u003e\u003cbr\u003e\nAfter officially leaving the service in August of 1945, Gentges married Florence Schwartz whom he had known since a youth on October 27, 1945 in their hometown of Farmington, Missouri. Beginning as childhood friends, Gentges admitted that once he had never had feelings for Florence, but through their letters during his service he realized his feelings for her. From then they were set to get married upon his return to the United States. Their relationship can be traced through their letters which have been copied and partially transcribed by their only daughter Mary Gentges. Charles R. Gentges passed away on February 13, 2006 and is buried along with his wife Florence and daugther Mary Elizabeth Gentges in Mount Calvary Cemetery, Saint Marys, Kansas, MO.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Charles R. Gentges was born on February 12, 1918, in Farmington, Missouri. Prior to his enlistment in April of 1941, he worked as a laundry foreman who enjoyed classical music and writing. At the age of 23 the Selective Service Act of September 1940 required him to enlist. By April 1941 he was training at Camp Claiborne in Louisiana where he became a rifleman and staff sergeant for the Infantry's 113th Regiment in the 34th Infantry Division nicknamed \"Red Bull Division.\" From February 1942 to October 1944 he served in the European African Middle Eastern Theatre in the Tunisian Campaign, Rome-Arno campaign, and North Apennines Campaign. His service ended abruptly on October 19, 1944 in Cecina, Italy when he received a gunshot wound which broke his femur, for which he was awarded his third Purple Heart Medal. Aside from Purple Heart, Gentges was also awarded a Bronze Star Medal, 5 overseas service bars, one three-year service stripe, a combat infantry badge, an American defense service ribbon, and maintained good conduct throughout his service. The details of his service can be found in his memoir compiled by his daughter in 2001 and contained in the collection.\n \nIt is evident in Gentges memoirs, diary entries, and letters that he is a devout Catholic. He attended mass in both England and Ireland where he observed the Catholic/Protestant controversy and was particularly impressed with the religiosity of Ireland. When serving in Italy, he visited Rome twice where the Pope blessed his rosary. Later, Gentges became a member of the Society for the Propagation of Faith and wrote a letter to the society saying that he detested his destructive job, especially as a man of god, but understood his duty to his country. Gentges wrote \"at present I'm in the hospital with a battle injury. Soon I must return with rifle in hand to the job I detest. A man has a duty toward his country. Thus I attempt to do the best my poor abilities as a soldier will permit. Otherwise I leave everything else to whatever God wills\".  \n \nAfter officially leaving the service in August of 1945, Gentges married Florence Schwartz whom he had known since a youth on October 27, 1945 in their hometown of Farmington, Missouri. Beginning as childhood friends, Gentges admitted that once he had never had feelings for Florence, but through their letters during his service he realized his feelings for her. From then they were set to get married upon his return to the United States. Their relationship can be traced through their letters which have been copied and partially transcribed by their only daughter Mary Gentges. Charles R. Gentges passed away on February 13, 2006 and is buried along with his wife Florence and daugther Mary Elizabeth Gentges in Mount Calvary Cemetery, Saint Marys, Kansas, MO."],"custodhist_html_tesm":["\u003cp\u003eTransferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026amp; Archives in July 2022.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Transferred from the Institute on World War II and the Human Experience to FSU Libraries Special Collections \u0026 Archives in July 2022."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], [Box and Folder number], Gentges Family collection, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/WWII_18_0014\"\u003ehttp://purl.fcla.edu/fsu/WWII_18_0014\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], [Box and Folder number], Gentges Family collection, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/WWII_18_0014"],"scopecontent_html_tesm":["\u003cp\u003eThis collection relates to Staff Sergeant Charles R. Gentges who served with the 34th Infantry Division in the North African and Italian campaigns during World War II. He was awarded the Purple Heart Medal with two oak leaf clusters and the Bronze Star Medal. The collection also relates Charles R. Gentges' wife Florence, and daughter, Mary Elizabeth Gentges.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection relates to Staff Sergeant Charles R. Gentges who served with the 34th Infantry Division in the North African and Italian campaigns during World War II. He was awarded the Purple Heart Medal with two oak leaf clusters and the Bronze Star Medal. The collection also relates Charles R. Gentges' wife Florence, and daughter, Mary Elizabeth Gentges."],"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."],"names_ssim":["FSU Special Collections \u0026 Archives","Gentges, Charles R., 1918-2006","Gentges, Florence Schwartz, 1914-2011","Gentges, Mary Elizabeth, 1947-2017"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"names_coll_ssim":["Gentges, Mary Elizabeth, 1947-2017"],"persname_ssim":["Gentges, Charles R., 1918-2006","Gentges, Florence Schwartz, 1914-2011","Gentges, Mary Elizabeth, 1947-2017"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":183,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"9f3fcc786e2e9d0bddce4cbc","timestamp":"2026-07-10T05:12:38.463Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/9f3fcc786e2e9d0bddce4cbc_aspace_eff308b83db05a0395f20cad6aa96587"}},{"id":"f927b9df25ec0aef2ec17101_aspace_446f9062eeef25cb7d905891479f9fd4","type":"Item","attributes":{"title":"Wooden Box with Cuban Coat of Arms, pre-Feb.1962 Manufacturing Stamp","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f927b9df25ec0aef2ec17101_aspace_446f9062eeef25cb7d905891479f9fd4#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_446f9062eeef25cb7d905891479f9fd4","ref_ssm":["aspace_446f9062eeef25cb7d905891479f9fd4","aspace_446f9062eeef25cb7d905891479f9fd4"],"id":"f927b9df25ec0aef2ec17101_aspace_446f9062eeef25cb7d905891479f9fd4","title_filing_ssi":"Wooden Box with Cuban Coat of Arms, pre-Feb.1962 Manufacturing Stamp \n","title_ssm":["Wooden Box with Cuban Coat of Arms, pre-Feb.1962 Manufacturing Stamp \n"],"title_tesim":["Wooden Box with Cuban Coat of Arms, pre-Feb.1962 Manufacturing Stamp \n"],"normalized_title_ssm":["Wooden Box with Cuban Coat of Arms, pre-Feb.1962 Manufacturing Stamp"],"text":["Wooden Box with Cuban Coat of Arms, pre-Feb.1962 Manufacturing Stamp","Ramiro Casañas Collection, 1805-2006","Cigars and Tobacco","Box 13","/repositories/2/archival_objects/84447","box 13","object 2"],"component_level_isim":[3],"parent_ids_ssim":["f927b9df25ec0aef2ec17101","f927b9df25ec0aef2ec17101_aspace_9e41ee962002ecc311c2657dd7f7106b","f927b9df25ec0aef2ec17101_aspace_682df4942e695c97203382f3ef88a2c7"],"parent_unittitles_ssm":["Ramiro Casañas Collection, 1805-2006","Cigars and Tobacco","Box 13"],"parent_unittitles_tesim":["Ramiro Casañas Collection, 1805-2006","Cigars and Tobacco","Box 13"],"parent_levels_ssm":["collection","Series","Other level"],"unitid_ssm":["/repositories/2/archival_objects/84447"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Ramiro Casañas Collection, 1805-2006"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":211,"containers_ssim":["box 13","object 2"],"_nest_path_":"/components#2/components#3/components#1","_nest_parent_":"f927b9df25ec0aef2ec17101_aspace_682df4942e695c97203382f3ef88a2c7","_root_":"f927b9df25ec0aef2ec17101","_version_":1870844517756698624,"timestamp":"2026-07-16T04:32:46.553Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f927b9df25ec0aef2ec17101","title_ssm":["Ramiro Casañas Collection"],"title_tesim":["Ramiro Casañas Collection"],"ead_ssi":"f927b9df25ec0aef2ec17101","unitdate_ssm":["1805-2006"],"unitdate_inclusive_ssm":["1805-2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC9026","/repositories/2/resources/123"],"text":["SPC9026","/repositories/2/resources/123","Ramiro Casañas Collection, 1805-2006","The Ramiro Casanas Collection is arranged by dominant subject of the featured boxes in each series. Some subjects may appear in other series; for example, Photographs will appear in Sports if the dominant subject of the photograph pertains to Sports. \nOversized Materials feature Photographs, Business and Cigar Signs, Art, Maps, Documents, Genealogical Charts, and Cuban Election Ephemera.","Ramiro O. Casanas was born in Cuba in 1929 to his mother Amelia, who died during his childhood from a heart attack at home before she could travel from Havana to New York, New York for a procedure concerning a pre-existing heart condition. Casanas remained in Cuba under the care of his father, along with his two brothers, Roberto and Luis. \nCasanas grew up playing baseball, and attempted to pursue a career in the sport, but was forced to reconsider when he developed a chronic illness. Instead, he dedicated himself to his studies, attending formal school to further his education and becoming devoted to the study of Cuba's history and its figures. \nHe married his wife Lina, and became the General Manager of a Sulfuric Reclamation Plant, the first of its kind in the Southern Hemisphere. They had a daughter named Linamelia, and lived happily in Cuba until The Cuban Revolution prompted them to escape to America in 1960, where they received immediate residency.\nThe Casanas Family welcomed a son named Rami Jr before relocating to California. It was in California, with its access to public art galleries, museums, and libraries, that Casanas developed his passion for collecting. The family frequented antique shops, flea markets, and tag sales to begin the work of gathering artifacts of value, such as art, coins, and stamps. They would spend the next fifty years buying and selling in fairs and clubs, as well as in the Coral Gables gallery and bookstore he and Lina had opened back in Miami, Florida. \nFor all the collecting the Casanas Family did, they felt it was equally important to give back, dedicating themselves to many philanthropic projects over the years. At the end of his life, Casanas shared his life's accumulation of artifacts among various universities. \nHe spent his last years in the company of Linamelia, traveling and exploring.","The Ramiro Casanas Collection provides a look into the Casanas Family's longtime passion for collecting. The collection's primary focus is on pieces that document Cuban history during the nineteenth and twentieth century. It features Cuban artwork, handwritten poetry, cigar boxes, periodicals, and sports paraphernalia. Also included are artifacts from around the world, such as international banknotes, political ephemera, maps, and photographs.","FIU Special Collections","English Spanish; Castilian"],"unitid_tesim":["SPC9026","/repositories/2/resources/123"],"normalized_date_ssm":["1805-2006"],"normalized_title_ssm":["Ramiro Casañas Collection, 1805-2006"],"collection_title_tesim":["Ramiro Casañas Collection, 1805-2006"],"collection_ssim":["Ramiro Casañas Collection, 1805-2006"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"has_online_content_ssim":["false"],"extent_ssm":["69 boxes"],"extent_tesim":["69 boxes"],"date_range_isim":[1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006],"arrangement_html_tesm":["\u003cp\u003eThe Ramiro Casanas Collection is arranged by dominant subject of the featured boxes in each series. Some subjects may appear in other series; for example, Photographs will appear in Sports if the dominant subject of the photograph pertains to Sports. \nOversized Materials feature Photographs, Business and Cigar Signs, Art, Maps, Documents, Genealogical Charts, and Cuban Election Ephemera.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Ramiro Casanas Collection is arranged by dominant subject of the featured boxes in each series. Some subjects may appear in other series; for example, Photographs will appear in Sports if the dominant subject of the photograph pertains to Sports. \nOversized Materials feature Photographs, Business and Cigar Signs, Art, Maps, Documents, Genealogical Charts, and Cuban Election Ephemera."],"bioghist_html_tesm":["\u003cp\u003eRamiro O. Casanas was born in Cuba in 1929 to his mother Amelia, who died during his childhood from a heart attack at home before she could travel from Havana to New York, New York for a procedure concerning a pre-existing heart condition. Casanas remained in Cuba under the care of his father, along with his two brothers, Roberto and Luis. \nCasanas grew up playing baseball, and attempted to pursue a career in the sport, but was forced to reconsider when he developed a chronic illness. Instead, he dedicated himself to his studies, attending formal school to further his education and becoming devoted to the study of Cuba's history and its figures. \nHe married his wife Lina, and became the General Manager of a Sulfuric Reclamation Plant, the first of its kind in the Southern Hemisphere. They had a daughter named Linamelia, and lived happily in Cuba until The Cuban Revolution prompted them to escape to America in 1960, where they received immediate residency.\nThe Casanas Family welcomed a son named Rami Jr before relocating to California. It was in California, with its access to public art galleries, museums, and libraries, that Casanas developed his passion for collecting. The family frequented antique shops, flea markets, and tag sales to begin the work of gathering artifacts of value, such as art, coins, and stamps. They would spend the next fifty years buying and selling in fairs and clubs, as well as in the Coral Gables gallery and bookstore he and Lina had opened back in Miami, Florida. \nFor all the collecting the Casanas Family did, they felt it was equally important to give back, dedicating themselves to many philanthropic projects over the years. At the end of his life, Casanas shared his life's accumulation of artifacts among various universities. \nHe spent his last years in the company of Linamelia, traveling and exploring.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Ramiro O. Casanas was born in Cuba in 1929 to his mother Amelia, who died during his childhood from a heart attack at home before she could travel from Havana to New York, New York for a procedure concerning a pre-existing heart condition. Casanas remained in Cuba under the care of his father, along with his two brothers, Roberto and Luis. \nCasanas grew up playing baseball, and attempted to pursue a career in the sport, but was forced to reconsider when he developed a chronic illness. Instead, he dedicated himself to his studies, attending formal school to further his education and becoming devoted to the study of Cuba's history and its figures. \nHe married his wife Lina, and became the General Manager of a Sulfuric Reclamation Plant, the first of its kind in the Southern Hemisphere. They had a daughter named Linamelia, and lived happily in Cuba until The Cuban Revolution prompted them to escape to America in 1960, where they received immediate residency.\nThe Casanas Family welcomed a son named Rami Jr before relocating to California. It was in California, with its access to public art galleries, museums, and libraries, that Casanas developed his passion for collecting. The family frequented antique shops, flea markets, and tag sales to begin the work of gathering artifacts of value, such as art, coins, and stamps. They would spend the next fifty years buying and selling in fairs and clubs, as well as in the Coral Gables gallery and bookstore he and Lina had opened back in Miami, Florida. \nFor all the collecting the Casanas Family did, they felt it was equally important to give back, dedicating themselves to many philanthropic projects over the years. At the end of his life, Casanas shared his life's accumulation of artifacts among various universities. \nHe spent his last years in the company of Linamelia, traveling and exploring."],"scopecontent_html_tesm":["\u003cp\u003eThe Ramiro Casanas Collection provides a look into the Casanas Family's longtime passion for collecting. The collection's primary focus is on pieces that document Cuban history during the nineteenth and twentieth century. It features Cuban artwork, handwritten poetry, cigar boxes, periodicals, and sports paraphernalia. Also included are artifacts from around the world, such as international banknotes, political ephemera, maps, and photographs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Ramiro Casanas Collection provides a look into the Casanas Family's longtime passion for collecting. The collection's primary focus is on pieces that document Cuban history during the nineteenth and twentieth century. It features Cuban artwork, handwritten poetry, cigar boxes, periodicals, and sports paraphernalia. Also included are artifacts from around the world, such as international banknotes, political ephemera, maps, and photographs."],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English Spanish; Castilian"],"total_component_count_is":966,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844517756698624,"_root_":"f927b9df25ec0aef2ec17101","timestamp":"2026-07-16T04:32:46.553Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/f927b9df25ec0aef2ec17101_aspace_446f9062eeef25cb7d905891479f9fd4"}},{"id":"5e17dda97e7549e9d9b40539_aspace_0af6a16a257573fad403fb6f555ebf11","type":"Item","attributes":{"title":"Wooden bust of Toussaint Louverture by Ulysse Dabouze, Circa late 19th or early 20th century","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/5e17dda97e7549e9d9b40539_aspace_0af6a16a257573fad403fb6f555ebf11#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_0af6a16a257573fad403fb6f555ebf11","ref_ssm":["aspace_0af6a16a257573fad403fb6f555ebf11","aspace_0af6a16a257573fad403fb6f555ebf11"],"id":"5e17dda97e7549e9d9b40539_aspace_0af6a16a257573fad403fb6f555ebf11","title_filing_ssi":"Wooden bust of Toussaint Louverture by Ulysse Dabouze","title_ssm":["Wooden bust of Toussaint Louverture by Ulysse Dabouze"],"title_tesim":["Wooden bust of Toussaint Louverture by Ulysse Dabouze"],"unitdate_other_ssim":["Circa late 19th or early 20th century"],"normalized_date_ssm":["Circa late 19th or early 20th century"],"normalized_title_ssm":["Wooden bust of Toussaint Louverture by Ulysse Dabouze, Circa late 19th or early 20th century"],"text":["Wooden bust of Toussaint Louverture by Ulysse Dabouze, Circa late 19th or early 20th century","Dorothy Porter Wesley Collection, Circa 1788-2012","Ephemera and Artwork","/repositories/2/archival_objects/33637"],"component_level_isim":[2],"parent_ids_ssim":["5e17dda97e7549e9d9b40539","5e17dda97e7549e9d9b40539_aspace_8b5f7d4f95945f221e07cfdc6ca623e1"],"parent_unittitles_ssm":["Dorothy Porter Wesley Collection, Circa 1788-2012","Ephemera and Artwork"],"parent_unittitles_tesim":["Dorothy Porter Wesley Collection, Circa 1788-2012","Ephemera and Artwork"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/2/archival_objects/33637"],"repository_ssim":["AARLCC Special Collections"],"collection_ssim":["Dorothy Porter Wesley Collection, Circa 1788-2012"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1536,"parent_access_restrict_tesm":["The Dorothy Porter Wesley Collection is open for research."],"_nest_path_":"/components#6/components#24","_nest_parent_":"5e17dda97e7549e9d9b40539_aspace_8b5f7d4f95945f221e07cfdc6ca623e1","_root_":"5e17dda97e7549e9d9b40539","_version_":1871563605913108480,"timestamp":"2026-07-24T03:02:22.463Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"5e17dda97e7549e9d9b40539","title_filing_ssi":"Wesley, Dorothy Porter Collection","title_ssm":["Dorothy Porter Wesley Collection"],"title_tesim":["Dorothy Porter Wesley Collection"],"ead_ssi":"5e17dda97e7549e9d9b40539","unitdate_ssm":["Circa 1788-2012"],"unitdate_inclusive_ssm":["Circa 1788-2012"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["AARLCC.2003.6","/repositories/2/resources/20"],"text":["AARLCC.2003.6","/repositories/2/resources/20","Dorothy Porter Wesley Collection, Circa 1788-2012","Africa -- Research","Wesley, Dorothy Porter -- Correspondence","Uzelac, Constance Porter -- Correspondence","Moorland-Spingarn Research Center","African American librarians","African American historians","African Americans -- History -- Sources","W.E.B. Du Bois Institute for Afro-American Research","Black people -- Brazil","Libraries and Black people","Photographs","Sound recordings","Correspondence","Art","The Dorothy Porter Wesley Collection is open for research.","View a selection of digitized materials from the Dorothy Porter Wesley Collection in the Broward County Library Digital Archives.","The collection is arranged into the following series and sub-series:","Series I. Correspondence","Sub-series I. General Correspondence","Sub-series II. Family Correspondence","Series II. Professional Papers","Sub-series I. Dorothy Porter Wesley professional papers","Sub-series II. Constance Porter Uzelac professional papers ","Sub-series III. Charles Harris Wesley professional papers ","Sub-series IV. Writings by Dorothy Porter Wesley","Sub-series V. Writings by Constance Porter Uzelac","Sub-series VI. Writings by James A. Porter","Sub-series VII. Writings by Constance Porter Uzelac","Sub-series VIII. Writings by Charles Harris Wesley ","Series III. Research Files","Sub-series I. Dorothy Porter Wesley general research files","Sub-series II. Dorothy Porter Wesley Brazil research files","Sub-series III. Dorothy Porter Wesley illustrations","Sub-series IV. Constance Porter Uzelac research files","Series IV. Personal Papers","Series V. Photographs","Series VI. Printed Materials","Sub-series I. Calendars and Datebooks","Sub-series II. Catalogs","Sub-series III. General","Sub-series IV. Magazines","Sub-series V. Maps","Sub-series VI. Newspaper Clippings","Sub-series VII. Sheet Music","Series VII. Ephemera and Artwork","Series VIII. Books and Pamphlets","Dorothy Burnett Porter Wesley (1905-1995) was a librarian, curator and bibliophile born on May 25, 1905 in Warrenton, Virginia. Her parents were physician Hayes Joseph Burnett and tennis player Roberta (\"Bertha\") Ball Burnett. She was the eldest of four children and grew up in Montclair, New Jersey. ","She graduated from Miner Normal School, Washington D.C. in 1925 with the intention of becoming a teacher. Wesley worked as a library assistant in the Miner Normal School library where she worked with librarian Lula V. Allan (1879-1968) who encouraged her to pursue a career in library science. Wesley enrolled in Howard University in 1926 and received a Bachelor of Arts degree in 1928. She then enrolled at Colombia University's School of Library Science where she received a Master's in Library Science in 1931. ","In 1929 Dorothy married artist and art history professor James Amos Porter (1905-1970) with whom she had her only daughter, Constance \"Coni\" Porter Uzelac (1939-2012). James A. Porter graduated with honors from Howard University in 1927 and began teaching art there the next semester. His classic book and standard reference work,  Modern Negro Art , proved to be one of the most informative sources to date on the creativity of the Black artists.","In 1930, Dorothy Porter began work as curator of the Moorland Foundation at Howard University, (now known as the Moorland-Spingarn Research Center) and worked to build the library's collections documenting African, African American, Afro-Caribbean and Afro-Hispanic history and culture. After becoming the Curator at Howard University in 1930, started thinking about how to catalog books by Black authors and related to Black history and culture. At the time, she recognized that the Dewey Decimal System only had two numbers (for \"Slavery\" and for \"Colonization\") under which all works related to Black people or Black authors could be cataloged. In response, during the first few years of her Curatorship, she created a new classification system that reflected the true breadth of the books available on topics related to Black people and by Black authors. She disseminated the classification system to other libraries, and published it in 1939. Porter worked at the Moorland-Spingarn Research Center until her retirement in 1973.","James Porter's died in 1970, and in 1979 Dorothy married Charles Harris Wesley (1891-1987), a noted historian, educator, and author. After receiving his master's degree from Yale University in 1913, he taught at Howard University from 1913 until 1942. Between 1920 and 1925, he also earned a Ph.D. from Harvard University, the fourth African American to do so. He served as President of Wilberforce University from 1942-1947 and of Central State College, Ohio from 1947 until 1965. ","Charles Harris Wesley authored more than 15 books on African-American history over the course of his career. His first book, Negro Labor in the United States, was hailed as one of the most useful works on the role of African-Americans in industry available in the 1920s. Dorothy worked with Charles on a variety of research projects even prior to their marriage, and continued to do so until Charles's death in 1987. ","After her retirement from Howard University in 1973, Dorothy Porter Wesley worked as a consultant for a variety of institutions and foundations such as the Radcliffe University's Black Women Oral History Archive. She also continued to write articles and books.","In 1994 President Bill Clinton presented her with the National Endowment for the Humanities' Charles Frankel Award. Dorothy Porter Wesley died in Broward County, Florida in 1995.","The book  William Cooper Nell, Nineteenth-Century African American Abolitionist, Historian, Integrationist: Selected Writings 1832-1874  (2002) was the last research project that Charles and Dorothy worked on together, and was posthumously published by Dorothy's daughter, Constance Porter Uzelac. Uzelac worked as a medical librarian. After her mother's death, she became the Executive Director of the Dorothy Porter Wesley Archive and managed James A. Porter's art collection.","In 2000, Constance Uzelac worked with the Bienes Museum of the Modern Book, James Findlay, on an exhibition of her mother's collection that was displayed at the Broward County Main Library in February and March of 2001. Samuel F. Morrison, Director of the Broward County Library, was instrumental in bringing the collection to exhibition at the Bienes, and would further encourage the purchase of the materials from Uzelac for the newly-opened AARLCC Special Collections in December 2002. Constance later worked at Broward County Library, cataloging a portion of the Dorothy Porter Wesley Collection at the AARLCC Special Collections. Constance married Milan Uzelac in 1965. They had no children. She died in Broward County in 2012.","This collection received file level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","Part of Dorothy Porter Wesley's papers also reside at the Beinecke Rare Book and Manuscript Library Repository at Yale University. Citation: Dorothy Porter Wesley Papers. James Weldon Johnson Collection in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.","Dorothy Porter Wesley's papers can also be found within the James A. Porter papers at Emory University. Citation: James A. Porter papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University.","The Dorothy Porter Wesley Collection documents the professional and personal life of librarian and bibliophile, Dorothy Porter Wesley. It contains manuscript materials, artwork, newspaper clippings, research files, photographs, awards and correspondence dating from 1905 to 2012 as well as Wesley's personal library of more than 2,800 books, pamphlets, and audio recordings dating from 1788 to 1995.","Correspondence covers her participation in professional and national organizations such as the Association for the Study of African American Life and History, Moorland-Spingarn Research Center at Howard University, Black Women in Sisterhood for Action, Delta Sigma Theta Sorority, Frederick Douglass Papers, Library of Congress, Black Caucus of the American Library Association, and the W.E.B. DuBois Institute at Harvard University. Dorothy Porter Wesley received letters from scholars and professionals such as Thomas Battle, John Blassingame, Louis Harlan, Mary McLeod Bethune, Joseph Reason, and Michael Winston. Family correspondence contains personal letters written to and from Dorothy Porter Wesley's family members including her daughter Constance Porter Uzelac, first husband James A. Porter, second husband Charles Harris Wesley, and brother in-law Robert P. Porter.","Professional papers consist of conference materials, reports, grant proposals, materials from organizations of which Dorothy and Constance were members, curriculum vitas of colleagues, exhibitions, and commencement programs. Dorothy Porter Wesley participated in organizations and institutions such as the Association for the Study of African American Life and History (ASALH), African Studies Association, Amistad Research Center, Howard University, Moorland-Spingarn Research Center, Frederick Douglass Papers Editorial Board, National Council of Negro Women, Organization of American Historians, Phi Delta Kappa, Radcliffe College, Society of American Archivists, and the W.E.B. Dubois Institute at Harvard University.","Constance Porter Uzelac collected documents from her career at the African American Research Library and Cultural Center branch of Broward County Libraries. She was a member of ASALH. Constance also managed the Dorothy Porter Wesley archives and the James A. Porter art collection. She attended conferences related to her parents' legacy and collection such as the Dorothy Porter Wesley Forum and Lecture Series at Howard University and the James A. Porter Colloquium on African American Art at Howard University. Documents related to Charles Harris Wesley include a Martin Luther King, Jr. commemorative service he attended and a book brochure of his monograph \"Prince Hall life and legacy\". ","The collection also includes published and unpublished works by Dorothy Porter Wesley, Constance Porter Uzelac, Charles Harris Wesley, and James A. Porter.","Research files contain articles, notes, and illustrations on subjects collected by Dorothy Porter Wesley and Constance Porter Uzelac during their research. Dorothy Porter Wesley conducted research on African, African American, Caribbean and Afro-Latin cultures to build the Moorland-Spingarn Research Center at Howard University. Her research was also used for her writings.","Printed Materials consist of materials collected by Dorothy Porter Wesley and Constance Porter Uzelac. Dorothy Porter Wesley's saved notes in calendars and datebooks. She collected catalogs, programs, brochures, maps, and magazines covering African and African American people, places and research topics. Newspaper clippings feature articles discussing Dorothy Porter Wesley's career as a librarian, archivist and curator at Howard University. Clippings also feature Constance Porter Uzelac's stewardship of her father's art collection and mother's archival collection.","Books from this collection are cataloged in the Broward County Library catalog with the prefix \"DPW\".","The Dorothy Porter Wesley Collection documents the professional and personal life of pioneering librarian, Dorothy Porter Wesley. It contains manuscript materials, artwork, research files, and correspondence dating from 1905 to 2012 as well as Wesley's personal library of more than 2,800 books and pamphlets.","AARLCC Special Collections","Wesley, Dorothy Porter, 1905-1995","Porter, James A. (James Amos), 1905-1970","English Portuguese German"],"unitid_tesim":["AARLCC.2003.6","/repositories/2/resources/20"],"normalized_date_ssm":["Circa 1788-2012"],"normalized_title_ssm":["Dorothy Porter Wesley Collection, Circa 1788-2012"],"collection_title_tesim":["Dorothy Porter Wesley Collection, Circa 1788-2012"],"collection_ssim":["Dorothy Porter Wesley Collection, Circa 1788-2012"],"repository_ssm":["AARLCC Special Collections"],"repository_ssim":["AARLCC Special Collections"],"geogname_ssm":["Africa -- Research"],"geogname_ssim":["Africa -- Research"],"places_ssim":["Africa -- Research"],"acqinfo_ssim":["Broward County Library purchased the materials from Constance Porter Uzelac (daughter of Dorothy Porter Wesley) in December 2002 (Accession AARLCC-2003.6). Milan Uzelac donated accruals to AARLCC Special Collections on June 29, 2012 (Accession AARLCC-2012.12) and on May 12, 2022 (Accession AARLCC-2022.7)."],"access_subjects_ssim":["Wesley, Dorothy Porter -- Correspondence","Uzelac, Constance Porter -- Correspondence","Moorland-Spingarn Research Center","African American librarians","African American historians","African Americans -- History -- Sources","W.E.B. Du Bois Institute for Afro-American Research","Black people -- Brazil","Libraries and Black people","Photographs","Sound recordings","Correspondence","Art"],"access_subjects_ssm":["Wesley, Dorothy Porter -- Correspondence","Uzelac, Constance Porter -- Correspondence","Moorland-Spingarn Research Center","African American librarians","African American historians","African Americans -- History -- Sources","W.E.B. Du Bois Institute for Afro-American Research","Black people -- Brazil","Libraries and Black people","Photographs","Sound recordings","Correspondence","Art"],"has_online_content_ssim":["false"],"extent_ssm":["67 Hollinger Boxes","2800 Books"],"extent_tesim":["67 Hollinger Boxes","2800 Books"],"genreform_ssim":["Photographs","Sound recordings","Correspondence","Art"],"date_range_isim":[1773,1774,1775,1776,1777,1778,1779,1780,1781,1782,1783,1784,1785,1786,1787,1788,1789,1790,1791,1792,1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"accessrestrict_html_tesm":["\u003cp\u003eThe Dorothy Porter Wesley Collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The Dorothy Porter Wesley Collection is open for research."],"altformavail_html_tesm":["\u003cp\u003e\u003ca href=\"https://digitalarchives.broward.org/digital/collection/p16146coll37/search\" target=\"_blank\"\u003eView a selection of digitized materials from the Dorothy Porter Wesley Collection in the Broward County Library Digital Archives.\u003c/a\u003e\u003c/p\u003e"],"altformavail_heading_ssm":["Digitized Materials"],"altformavail_tesim":["View a selection of digitized materials from the Dorothy Porter Wesley Collection in the Broward County Library Digital Archives."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into the following series and sub-series:\u003c/p\u003e","\u003cb\u003e\u003cp\u003eSeries I. Correspondence\u003c/p\u003e\u003c/b\u003e","\u003cp\u003eSub-series I. General Correspondence\u003c/p\u003e","\u003cp\u003eSub-series II. Family Correspondence\u003c/p\u003e","\u003cb\u003e\u003cp\u003eSeries II. Professional Papers\u003c/p\u003e\u003c/b\u003e","\u003cp\u003eSub-series I. Dorothy Porter Wesley professional papers\u003c/p\u003e","\u003cp\u003eSub-series II. Constance Porter Uzelac professional papers \u003c/p\u003e","\u003cp\u003eSub-series III. Charles Harris Wesley professional papers \u003c/p\u003e","\u003cp\u003eSub-series IV. Writings by Dorothy Porter Wesley\u003c/p\u003e","\u003cp\u003eSub-series V. Writings by Constance Porter Uzelac\u003c/p\u003e","\u003cp\u003eSub-series VI. Writings by James A. Porter\u003c/p\u003e","\u003cp\u003eSub-series VII. Writings by Constance Porter Uzelac\u003c/p\u003e","\u003cp\u003eSub-series VIII. Writings by Charles Harris Wesley \u003c/p\u003e","\u003cb\u003e\u003cp\u003eSeries III. Research Files\u003c/p\u003e\u003c/b\u003e","\u003cp\u003eSub-series I. Dorothy Porter Wesley general research files\u003c/p\u003e","\u003cp\u003eSub-series II. Dorothy Porter Wesley Brazil research files\u003c/p\u003e","\u003cp\u003eSub-series III. Dorothy Porter Wesley illustrations\u003c/p\u003e","\u003cp\u003eSub-series IV. Constance Porter Uzelac research files\u003c/p\u003e","\u003cb\u003e\u003cp\u003eSeries IV. Personal Papers\u003c/p\u003e\u003c/b\u003e","\u003cb\u003e\u003cp\u003eSeries V. Photographs\u003c/p\u003e\u003c/b\u003e","\u003cb\u003e\u003cp\u003eSeries VI. Printed Materials\u003c/p\u003e\u003c/b\u003e","\u003cp\u003eSub-series I. Calendars and Datebooks\u003c/p\u003e","\u003cp\u003eSub-series II. Catalogs\u003c/p\u003e","\u003cp\u003eSub-series III. General\u003c/p\u003e","\u003cp\u003eSub-series IV. Magazines\u003c/p\u003e","\u003cp\u003eSub-series V. Maps\u003c/p\u003e","\u003cp\u003eSub-series VI. Newspaper Clippings\u003c/p\u003e","\u003cp\u003eSub-series VII. Sheet Music\u003c/p\u003e","\u003cb\u003e\u003cp\u003eSeries VII. Ephemera and Artwork\u003c/p\u003e\u003c/b\u003e","\u003cp\u003e\u003cb\u003eSeries VIII. Books and Pamphlets\u003c/b\u003e\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into the following series and sub-series:","Series I. Correspondence","Sub-series I. General Correspondence","Sub-series II. Family Correspondence","Series II. Professional Papers","Sub-series I. Dorothy Porter Wesley professional papers","Sub-series II. Constance Porter Uzelac professional papers ","Sub-series III. Charles Harris Wesley professional papers ","Sub-series IV. Writings by Dorothy Porter Wesley","Sub-series V. Writings by Constance Porter Uzelac","Sub-series VI. Writings by James A. Porter","Sub-series VII. Writings by Constance Porter Uzelac","Sub-series VIII. Writings by Charles Harris Wesley ","Series III. Research Files","Sub-series I. Dorothy Porter Wesley general research files","Sub-series II. Dorothy Porter Wesley Brazil research files","Sub-series III. Dorothy Porter Wesley illustrations","Sub-series IV. Constance Porter Uzelac research files","Series IV. Personal Papers","Series V. Photographs","Series VI. Printed Materials","Sub-series I. Calendars and Datebooks","Sub-series II. Catalogs","Sub-series III. General","Sub-series IV. Magazines","Sub-series V. Maps","Sub-series VI. Newspaper Clippings","Sub-series VII. Sheet Music","Series VII. Ephemera and Artwork","Series VIII. Books and Pamphlets"],"bioghist_html_tesm":["\u003cp\u003eDorothy Burnett Porter Wesley (1905-1995) was a librarian, curator and bibliophile born on May 25, 1905 in Warrenton, Virginia. Her parents were physician Hayes Joseph Burnett and tennis player Roberta (\"Bertha\") Ball Burnett. She was the eldest of four children and grew up in Montclair, New Jersey. \u003c/p\u003e\n","\u003cp\u003eShe graduated from Miner Normal School, Washington D.C. in 1925 with the intention of becoming a teacher. Wesley worked as a library assistant in the Miner Normal School library where she worked with librarian Lula V. Allan (1879-1968) who encouraged her to pursue a career in library science. Wesley enrolled in Howard University in 1926 and received a Bachelor of Arts degree in 1928. She then enrolled at Colombia University's School of Library Science where she received a Master's in Library Science in 1931. \u003c/p\u003e\n","\u003cp\u003eIn 1929 Dorothy married artist and art history professor James Amos Porter (1905-1970) with whom she had her only daughter, Constance \"Coni\" Porter Uzelac (1939-2012). James A. Porter graduated with honors from Howard University in 1927 and began teaching art there the next semester. His classic book and standard reference work, \u003cemph\u003eModern Negro Art\u003c/emph\u003e, proved to be one of the most informative sources to date on the creativity of the Black artists.\u003c/p\u003e\n","\u003cp\u003eIn 1930, Dorothy Porter began work as curator of the Moorland Foundation at Howard University, (now known as the Moorland-Spingarn Research Center) and worked to build the library's collections documenting African, African American, Afro-Caribbean and Afro-Hispanic history and culture. After becoming the Curator at Howard University in 1930, started thinking about how to catalog books by Black authors and related to Black history and culture. At the time, she recognized that the Dewey Decimal System only had two numbers (for \"Slavery\" and for \"Colonization\") under which all works related to Black people or Black authors could be cataloged. In response, during the first few years of her Curatorship, she created a new classification system that reflected the true breadth of the books available on topics related to Black people and by Black authors. She disseminated the classification system to other libraries, and published it in 1939. Porter worked at the Moorland-Spingarn Research Center until her retirement in 1973.\u003c/p\u003e\n","\u003cp\u003eJames Porter's died in 1970, and in 1979 Dorothy married Charles Harris Wesley (1891-1987), a noted historian, educator, and author. After receiving his master's degree from Yale University in 1913, he taught at Howard University from 1913 until 1942. Between 1920 and 1925, he also earned a Ph.D. from Harvard University, the fourth African American to do so. He served as President of Wilberforce University from 1942-1947 and of Central State College, Ohio from 1947 until 1965. \u003c/p\u003e\n","\u003cp\u003eCharles Harris Wesley authored more than 15 books on African-American history over the course of his career. His first book, Negro Labor in the United States, was hailed as one of the most useful works on the role of African-Americans in industry available in the 1920s. Dorothy worked with Charles on a variety of research projects even prior to their marriage, and continued to do so until Charles's death in 1987. \u003c/p\u003e\n","\u003cp\u003eAfter her retirement from Howard University in 1973, Dorothy Porter Wesley worked as a consultant for a variety of institutions and foundations such as the Radcliffe University's Black Women Oral History Archive. She also continued to write articles and books.\u003c/p\u003e\n","\u003cp\u003eIn 1994 President Bill Clinton presented her with the National Endowment for the Humanities' Charles Frankel Award. Dorothy Porter Wesley died in Broward County, Florida in 1995.\u003c/p\u003e\n","\u003cp\u003eThe book \u003ci\u003eWilliam Cooper Nell, Nineteenth-Century African American Abolitionist, Historian, Integrationist: Selected Writings 1832-1874\u003c/i\u003e (2002) was the last research project that Charles and Dorothy worked on together, and was posthumously published by Dorothy's daughter, Constance Porter Uzelac. Uzelac worked as a medical librarian. After her mother's death, she became the Executive Director of the Dorothy Porter Wesley Archive and managed James A. Porter's art collection.\u003c/p\u003e\n","\u003cp\u003eIn 2000, Constance Uzelac worked with the Bienes Museum of the Modern Book, James Findlay, on an exhibition of her mother's collection that was displayed at the Broward County Main Library in February and March of 2001. Samuel F. Morrison, Director of the Broward County Library, was instrumental in bringing the collection to exhibition at the Bienes, and would further encourage the purchase of the materials from Uzelac for the newly-opened AARLCC Special Collections in December 2002. Constance later worked at Broward County Library, cataloging a portion of the Dorothy Porter Wesley Collection at the AARLCC Special Collections. Constance married Milan Uzelac in 1965. They had no children. She died in Broward County in 2012.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Dorothy Burnett Porter Wesley (1905-1995) was a librarian, curator and bibliophile born on May 25, 1905 in Warrenton, Virginia. Her parents were physician Hayes Joseph Burnett and tennis player Roberta (\"Bertha\") Ball Burnett. She was the eldest of four children and grew up in Montclair, New Jersey. ","She graduated from Miner Normal School, Washington D.C. in 1925 with the intention of becoming a teacher. Wesley worked as a library assistant in the Miner Normal School library where she worked with librarian Lula V. Allan (1879-1968) who encouraged her to pursue a career in library science. Wesley enrolled in Howard University in 1926 and received a Bachelor of Arts degree in 1928. She then enrolled at Colombia University's School of Library Science where she received a Master's in Library Science in 1931. ","In 1929 Dorothy married artist and art history professor James Amos Porter (1905-1970) with whom she had her only daughter, Constance \"Coni\" Porter Uzelac (1939-2012). James A. Porter graduated with honors from Howard University in 1927 and began teaching art there the next semester. His classic book and standard reference work,  Modern Negro Art , proved to be one of the most informative sources to date on the creativity of the Black artists.","In 1930, Dorothy Porter began work as curator of the Moorland Foundation at Howard University, (now known as the Moorland-Spingarn Research Center) and worked to build the library's collections documenting African, African American, Afro-Caribbean and Afro-Hispanic history and culture. After becoming the Curator at Howard University in 1930, started thinking about how to catalog books by Black authors and related to Black history and culture. At the time, she recognized that the Dewey Decimal System only had two numbers (for \"Slavery\" and for \"Colonization\") under which all works related to Black people or Black authors could be cataloged. In response, during the first few years of her Curatorship, she created a new classification system that reflected the true breadth of the books available on topics related to Black people and by Black authors. She disseminated the classification system to other libraries, and published it in 1939. Porter worked at the Moorland-Spingarn Research Center until her retirement in 1973.","James Porter's died in 1970, and in 1979 Dorothy married Charles Harris Wesley (1891-1987), a noted historian, educator, and author. After receiving his master's degree from Yale University in 1913, he taught at Howard University from 1913 until 1942. Between 1920 and 1925, he also earned a Ph.D. from Harvard University, the fourth African American to do so. He served as President of Wilberforce University from 1942-1947 and of Central State College, Ohio from 1947 until 1965. ","Charles Harris Wesley authored more than 15 books on African-American history over the course of his career. His first book, Negro Labor in the United States, was hailed as one of the most useful works on the role of African-Americans in industry available in the 1920s. Dorothy worked with Charles on a variety of research projects even prior to their marriage, and continued to do so until Charles's death in 1987. ","After her retirement from Howard University in 1973, Dorothy Porter Wesley worked as a consultant for a variety of institutions and foundations such as the Radcliffe University's Black Women Oral History Archive. She also continued to write articles and books.","In 1994 President Bill Clinton presented her with the National Endowment for the Humanities' Charles Frankel Award. Dorothy Porter Wesley died in Broward County, Florida in 1995.","The book  William Cooper Nell, Nineteenth-Century African American Abolitionist, Historian, Integrationist: Selected Writings 1832-1874  (2002) was the last research project that Charles and Dorothy worked on together, and was posthumously published by Dorothy's daughter, Constance Porter Uzelac. Uzelac worked as a medical librarian. After her mother's death, she became the Executive Director of the Dorothy Porter Wesley Archive and managed James A. Porter's art collection.","In 2000, Constance Uzelac worked with the Bienes Museum of the Modern Book, James Findlay, on an exhibition of her mother's collection that was displayed at the Broward County Main Library in February and March of 2001. Samuel F. Morrison, Director of the Broward County Library, was instrumental in bringing the collection to exhibition at the Bienes, and would further encourage the purchase of the materials from Uzelac for the newly-opened AARLCC Special Collections in December 2002. Constance later worked at Broward County Library, cataloging a portion of the Dorothy Porter Wesley Collection at the AARLCC Special Collections. Constance married Milan Uzelac in 1965. They had no children. She died in Broward County in 2012."],"prefercite_html_tesm":["\u003cp\u003eDorothy Porter Wesley Collection (AARLCC-2003.6), AARLCC Special Collections, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["Dorothy Porter Wesley Collection (AARLCC-2003.6), AARLCC Special Collections, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThis collection received file level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection received file level processing. This finding aid may be updated to reflect new descriptions as well as acquisitions to the collection."],"relatedmaterial_html_tesm":["\u003cp\u003e\n\u003ca href=\"https://archives.yale.edu/repositories/11/resources/994\" target=\"_blank\"\u003ePart of Dorothy Porter Wesley's papers also reside at the Beinecke Rare Book and Manuscript Library Repository at Yale University. Citation: Dorothy Porter Wesley Papers. James Weldon Johnson Collection in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.\u003c/a\u003e\n\u003c/p\u003e","\u003cp\u003e\n\u003ca href=\"https://archives.libraries.emory.edu/repositories/7/resources/3255\" target=\"_blank\"\u003eDorothy Porter Wesley's papers can also be found within the James A. Porter papers at Emory University. Citation: James A. Porter papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University.\u003c/a\u003e\n\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Part of Dorothy Porter Wesley's papers also reside at the Beinecke Rare Book and Manuscript Library Repository at Yale University. Citation: Dorothy Porter Wesley Papers. James Weldon Johnson Collection in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.","Dorothy Porter Wesley's papers can also be found within the James A. Porter papers at Emory University. Citation: James A. Porter papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University."],"scopecontent_html_tesm":["\u003cp\u003eThe Dorothy Porter Wesley Collection documents the professional and personal life of librarian and bibliophile, Dorothy Porter Wesley. It contains manuscript materials, artwork, newspaper clippings, research files, photographs, awards and correspondence dating from 1905 to 2012 as well as Wesley's personal library of more than 2,800 books, pamphlets, and audio recordings dating from 1788 to 1995.\u003c/p\u003e\n","\u003cp\u003eCorrespondence covers her participation in professional and national organizations such as the Association for the Study of African American Life and History, Moorland-Spingarn Research Center at Howard University, Black Women in Sisterhood for Action, Delta Sigma Theta Sorority, Frederick Douglass Papers, Library of Congress, Black Caucus of the American Library Association, and the W.E.B. DuBois Institute at Harvard University. Dorothy Porter Wesley received letters from scholars and professionals such as Thomas Battle, John Blassingame, Louis Harlan, Mary McLeod Bethune, Joseph Reason, and Michael Winston. Family correspondence contains personal letters written to and from Dorothy Porter Wesley's family members including her daughter Constance Porter Uzelac, first husband James A. Porter, second husband Charles Harris Wesley, and brother in-law Robert P. Porter.\u003c/p\u003e\n","\u003cp\u003eProfessional papers consist of conference materials, reports, grant proposals, materials from organizations of which Dorothy and Constance were members, curriculum vitas of colleagues, exhibitions, and commencement programs. Dorothy Porter Wesley participated in organizations and institutions such as the Association for the Study of African American Life and History (ASALH), African Studies Association, Amistad Research Center, Howard University, Moorland-Spingarn Research Center, Frederick Douglass Papers Editorial Board, National Council of Negro Women, Organization of American Historians, Phi Delta Kappa, Radcliffe College, Society of American Archivists, and the W.E.B. Dubois Institute at Harvard University.\u003c/p\u003e\n","\u003cp\u003eConstance Porter Uzelac collected documents from her career at the African American Research Library and Cultural Center branch of Broward County Libraries. She was a member of ASALH. Constance also managed the Dorothy Porter Wesley archives and the James A. Porter art collection. She attended conferences related to her parents' legacy and collection such as the Dorothy Porter Wesley Forum and Lecture Series at Howard University and the James A. Porter Colloquium on African American Art at Howard University. Documents related to Charles Harris Wesley include a Martin Luther King, Jr. commemorative service he attended and a book brochure of his monograph \"Prince Hall life and legacy\". \u003c/p\u003e\n","\u003cp\u003eThe collection also includes published and unpublished works by Dorothy Porter Wesley, Constance Porter Uzelac, Charles Harris Wesley, and James A. Porter.\u003c/p\u003e\n","\u003cp\u003eResearch files contain articles, notes, and illustrations on subjects collected by Dorothy Porter Wesley and Constance Porter Uzelac during their research. Dorothy Porter Wesley conducted research on African, African American, Caribbean and Afro-Latin cultures to build the Moorland-Spingarn Research Center at Howard University. Her research was also used for her writings.\u003c/p\u003e\n","\u003cp\u003ePrinted Materials consist of materials collected by Dorothy Porter Wesley and Constance Porter Uzelac. Dorothy Porter Wesley's saved notes in calendars and datebooks. She collected catalogs, programs, brochures, maps, and magazines covering African and African American people, places and research topics. Newspaper clippings feature articles discussing Dorothy Porter Wesley's career as a librarian, archivist and curator at Howard University. Clippings also feature Constance Porter Uzelac's stewardship of her father's art collection and mother's archival collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Dorothy Porter Wesley Collection documents the professional and personal life of librarian and bibliophile, Dorothy Porter Wesley. It contains manuscript materials, artwork, newspaper clippings, research files, photographs, awards and correspondence dating from 1905 to 2012 as well as Wesley's personal library of more than 2,800 books, pamphlets, and audio recordings dating from 1788 to 1995.","Correspondence covers her participation in professional and national organizations such as the Association for the Study of African American Life and History, Moorland-Spingarn Research Center at Howard University, Black Women in Sisterhood for Action, Delta Sigma Theta Sorority, Frederick Douglass Papers, Library of Congress, Black Caucus of the American Library Association, and the W.E.B. DuBois Institute at Harvard University. Dorothy Porter Wesley received letters from scholars and professionals such as Thomas Battle, John Blassingame, Louis Harlan, Mary McLeod Bethune, Joseph Reason, and Michael Winston. Family correspondence contains personal letters written to and from Dorothy Porter Wesley's family members including her daughter Constance Porter Uzelac, first husband James A. Porter, second husband Charles Harris Wesley, and brother in-law Robert P. Porter.","Professional papers consist of conference materials, reports, grant proposals, materials from organizations of which Dorothy and Constance were members, curriculum vitas of colleagues, exhibitions, and commencement programs. Dorothy Porter Wesley participated in organizations and institutions such as the Association for the Study of African American Life and History (ASALH), African Studies Association, Amistad Research Center, Howard University, Moorland-Spingarn Research Center, Frederick Douglass Papers Editorial Board, National Council of Negro Women, Organization of American Historians, Phi Delta Kappa, Radcliffe College, Society of American Archivists, and the W.E.B. Dubois Institute at Harvard University.","Constance Porter Uzelac collected documents from her career at the African American Research Library and Cultural Center branch of Broward County Libraries. She was a member of ASALH. Constance also managed the Dorothy Porter Wesley archives and the James A. Porter art collection. She attended conferences related to her parents' legacy and collection such as the Dorothy Porter Wesley Forum and Lecture Series at Howard University and the James A. Porter Colloquium on African American Art at Howard University. Documents related to Charles Harris Wesley include a Martin Luther King, Jr. commemorative service he attended and a book brochure of his monograph \"Prince Hall life and legacy\". ","The collection also includes published and unpublished works by Dorothy Porter Wesley, Constance Porter Uzelac, Charles Harris Wesley, and James A. Porter.","Research files contain articles, notes, and illustrations on subjects collected by Dorothy Porter Wesley and Constance Porter Uzelac during their research. Dorothy Porter Wesley conducted research on African, African American, Caribbean and Afro-Latin cultures to build the Moorland-Spingarn Research Center at Howard University. Her research was also used for her writings.","Printed Materials consist of materials collected by Dorothy Porter Wesley and Constance Porter Uzelac. Dorothy Porter Wesley's saved notes in calendars and datebooks. She collected catalogs, programs, brochures, maps, and magazines covering African and African American people, places and research topics. Newspaper clippings feature articles discussing Dorothy Porter Wesley's career as a librarian, archivist and curator at Howard University. Clippings also feature Constance Porter Uzelac's stewardship of her father's art collection and mother's archival collection."],"separatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://broward.ent.sirsi.net/client/en_US/default/search/results?qu=DPW\u0026amp;qf=LOCATION%09Shelf+Location%091%3AAF-SPC%09AARLCC+Special+Collections\" target=\"_blank\"\u003eBooks from this collection are cataloged in the Broward County Library catalog with the prefix \"DPW\".\u003c/a\u003e\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Access the Books"],"separatedmaterial_tesim":["Books from this collection are cataloged in the Broward County Library catalog with the prefix \"DPW\"."],"abstract_html_tesm":["\u003cabstract id=\"aspace_559c404160acc20bdc75d09cde3325a4\"\u003eThe Dorothy Porter Wesley Collection documents the professional and personal life of pioneering librarian, Dorothy Porter Wesley. It contains manuscript materials, artwork, research files, and correspondence dating from 1905 to 2012 as well as Wesley's personal library of more than 2,800 books and pamphlets.\u003c/abstract\u003e"],"abstract_tesim":["The Dorothy Porter Wesley Collection documents the professional and personal life of pioneering librarian, Dorothy Porter Wesley. It contains manuscript materials, artwork, research files, and correspondence dating from 1905 to 2012 as well as Wesley's personal library of more than 2,800 books and pamphlets."],"names_ssim":["AARLCC Special Collections","Wesley, Dorothy Porter, 1905-1995","Porter, James A. (James Amos), 1905-1970"],"corpname_ssim":["AARLCC Special Collections"],"names_coll_ssim":["Wesley, Dorothy Porter, 1905-1995"],"persname_ssim":["Wesley, Dorothy Porter, 1905-1995","Porter, James A. (James Amos), 1905-1970"],"language_ssim":["English Portuguese German"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1539,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1871563605913108480,"_root_":"5e17dda97e7549e9d9b40539","timestamp":"2026-07-24T03:02:22.463Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/5e17dda97e7549e9d9b40539_aspace_0af6a16a257573fad403fb6f555ebf11"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Claude Pepper Papers, 1900-1989","value":"Claude Pepper Papers, 1900-1989","hits":38466},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Claude+Pepper+Papers%2C+1900-1989\u0026view=compact"}},{"attributes":{"label":"Tom Brokaw collection, 1941-1997, bulk 1998-2007","value":"Tom Brokaw collection, 1941-1997, bulk 1998-2007","hits":8744},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Tom+Brokaw+collection%2C+1941-1997%2C+bulk+1998-2007\u0026view=compact"}},{"attributes":{"label":"Sam Gibbons collection, 1940-2000, 1996, bulk 1960-1996","value":"Sam Gibbons collection, 1940-2000, 1996, bulk 1960-1996","hits":8167},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Sam+Gibbons+collection%2C+1940-2000%2C+1996%2C+bulk+1960-1996\u0026view=compact"}},{"attributes":{"label":"University Communications Collection, 1940-2013, bulk 1990-2013","value":"University Communications Collection, 1940-2013, bulk 1990-2013","hits":8132},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=University+Communications+Collection%2C+1940-2013%2C+bulk+1990-2013\u0026view=compact"}},{"attributes":{"label":"Degen Playbill Collection, 1895-2023","value":"Degen Playbill Collection, 1895-2023","hits":7504},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Degen+Playbill+Collection%2C+1895-2023\u0026view=compact"}},{"attributes":{"label":"Gandy Commercial and Aerial Photography collection, 1950-2010, Date acquired: 12/01/2010","value":"Gandy Commercial and Aerial Photography collection, 1950-2010, Date acquired: 12/01/2010","hits":6282},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Gandy+Commercial+and+Aerial+Photography+collection%2C+1950-2010%2C+Date+acquired%3A+12%2F01%2F2010\u0026view=compact"}},{"attributes":{"label":"William Knight Zewadski Classical movie stills collection, 1860-2007, Date acquired: 00/00/2018","value":"William Knight Zewadski Classical movie stills collection, 1860-2007, Date acquired: 00/00/2018","hits":6121},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=William+Knight+Zewadski+Classical+movie+stills+collection%2C+1860-2007%2C+Date+acquired%3A+00%2F00%2F2018\u0026view=compact"}},{"attributes":{"label":"Mark Wallheiser Photographic Collection, 1980-2024","value":"Mark Wallheiser Photographic Collection, 1980-2024","hits":5346},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Mark+Wallheiser+Photographic+Collection%2C+1980-2024\u0026view=compact"}},{"attributes":{"label":"Harrison \"Buzz\" Price papers, 1948-2006","value":"Harrison \"Buzz\" Price papers, 1948-2006","hits":4992},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Harrison+%22Buzz%22+Price+papers%2C+1948-2006\u0026view=compact"}},{"attributes":{"label":"Vertical files, 1900-2005","value":"Vertical files, 1900-2005","hits":4915},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Vertical+files%2C+1900-2005\u0026view=compact"}},{"attributes":{"label":"Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","value":"Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","hits":4821},"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bcollection%5D%5B%5D=Hampton+Dunn+collection%2C+1916-2002%2C+Date+acquired%3A+00%2F00%2F1981%2C+bulk+1960-2002\u0026view=compact"}}]},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/facet/collection_ssim.json?facet.sort=count\u0026view=compact"}},{"type":"facet","id":"creator_ssim","attributes":{"label":"Creator","items":[{"attributes":{"label":"Henry Clay and Bock \u0026 Co., Ltd. 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