{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65440\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65439\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65441\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65773\u0026view=compact"},"meta":{"pages":{"current_page":65440,"next_page":65441,"prev_page":65439,"total_pages":65773,"limit_value":10,"offset_value":654390,"total_count":657728,"first_page?":false,"last_page?":false}},"data":[{"id":"2adc31a30bfcd724088cd673_aspace_197861","type":"Item","attributes":{"title":"Yarbrough, Lonnie Everett, 10/3/2009","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/2adc31a30bfcd724088cd673_aspace_197861#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThrough his recollections, the oral history began as a discussion of undergraduate campus life. This eventually shifts to his time living in the married dorms as well as the military base that was converted for housing. Graduate programs, and ceritification program also discussed. Also covered is local music scene of Tallahassee. OHP Control Number 0640\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2adc31a30bfcd724088cd673_aspace_197861#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_197861","ref_ssm":["aspace_197861","aspace_197861"],"id":"2adc31a30bfcd724088cd673_aspace_197861","title_filing_ssi":"Yarbrough, Lonnie Everett","title_ssm":["Yarbrough, Lonnie Everett"],"title_tesim":["Yarbrough, Lonnie Everett"],"unitdate_other_ssim":["10/3/2009"],"normalized_date_ssm":["10/3/2009"],"normalized_title_ssm":["Yarbrough, Lonnie Everett, 10/3/2009"],"text":["Yarbrough, Lonnie Everett, 10/3/2009","Reichelt Oral History Collection, 1969-2022","Florida State University Histories","Item 432","/repositories/10/archival_objects/134476","Through his recollections, the oral history began as a discussion of undergraduate campus life. This eventually shifts to his time living in the married dorms as well as the military base that was converted for housing. Graduate programs, and ceritification program also discussed. Also covered is local music scene of Tallahassee. OHP Control Number 0640"],"component_level_isim":[2],"parent_ids_ssim":["2adc31a30bfcd724088cd673","2adc31a30bfcd724088cd673_aspace_197429"],"parent_unittitles_ssm":["Reichelt Oral History Collection, 1969-2022","Florida State University Histories"],"parent_unittitles_tesim":["Reichelt Oral History Collection, 1969-2022","Florida State University Histories"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["Item 432","/repositories/10/archival_objects/134476"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Reichelt Oral History Collection, 1969-2022"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":2122,"parent_access_restrict_tesm":["Access to interviews and administrative files is restricted. Requests for access may be addressed to lib-specialcollections@fsu.edu. Requests will be reviewed by curators in consideration of interview rights and interviewee privacy. Please be as specific as possible in placing an access request, including interviewee name, interview date, and OHP Control Number where possible.","Most transcripts are available digitally. Staff should contact curators before retrieving containers from offsite storage.","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":["Copyright restrictions may apply to works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"scopecontent_html_tesm":["\u003cp\u003eThrough his recollections, the oral history began as a discussion of undergraduate campus life. This eventually shifts to his time living in the married dorms as well as the military base that was converted for housing. Graduate programs, and ceritification program also discussed. Also covered is local music scene of Tallahassee. OHP Control Number 0640\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Through his recollections, the oral history began as a discussion of undergraduate campus life. This eventually shifts to his time living in the married dorms as well as the military base that was converted for housing. Graduate programs, and ceritification program also discussed. Also covered is local music scene of Tallahassee. OHP Control Number 0640"],"_nest_path_":"/components#5/components#430","_nest_parent_":"2adc31a30bfcd724088cd673_aspace_197429","_root_":"2adc31a30bfcd724088cd673","_version_":1870859629991297024,"timestamp":"2026-07-16T08:32:58.674Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2adc31a30bfcd724088cd673","title_ssm":["Reichelt Oral History Collection"],"title_tesim":["Reichelt Oral History Collection"],"ead_ssi":"2adc31a30bfcd724088cd673","unitdate_ssm":["1969-2022"],"unitdate_other_ssim":["1969-2022"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["HUA 2015-00R","/repositories/10/resources/912"],"text":["HUA 2015-00R","/repositories/10/resources/912","Reichelt Oral History Collection, 1969-2022","Access to interviews and administrative files is restricted.  Requests for access may be addressed to lib-specialcollections@fsu.edu. Requests will be reviewed by curators in consideration of interview rights and interviewee privacy. Please be as specific as possible in placing an access request, including interviewee name, interview date, and OHP Control Number where possible.","Most transcripts are available digitally. Staff should contact curators before retrieving containers from offsite storage.","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","The Reichelt Oral History Program was founded in the Florida State University Department of History in 1969 under by Dr. Edward F. Keuchel, with the intent of teaching oral\thistory techniques to students while documenting FSU's history.  In\t1996, with the encouragement of university president Sandy\tD'Alemberte, the program was established permanently as an entity\twithin the History Department. The program later expanded to include histories on the University, the Florida State College for Women, Tallahassee, Florida, veterans of World War II, the\tKorean conflict, the Vietnam War, and other military conflicts.","Sound recordings, transcripts, and administrative files documenting the activities of the Reichelt Oral History Program in the Florida State University Department of History. Significant interview topics include United States military, life in Florida and Tallahassee, and student life at Florida State University and its predecessor institution Florida State College for Women.","Copyright restrictions may apply to works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information.","FSU Special Collections \u0026 Archives","English"],"unitid_tesim":["HUA 2015-00R","/repositories/10/resources/912"],"normalized_date_ssm":["1969-2022"],"normalized_title_ssm":["Reichelt Oral History Collection, 1969-2022"],"collection_title_tesim":["Reichelt Oral History Collection, 1969-2022"],"collection_ssim":["Reichelt Oral History Collection, 1969-2022"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright restrictions may apply to works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"acqinfo_ssim":["Florida State University Department of History"],"has_online_content_ssim":["false"],"extent_ssm":["0.00 Linear Feet"],"extent_tesim":["0.00 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003e\u003cemph render=\"bold\"\u003eAccess to interviews and administrative files is restricted.\u003c/emph\u003e Requests for access may be addressed to lib-specialcollections@fsu.edu. Requests will be reviewed by curators in consideration of interview rights and interviewee privacy. Please be as specific as possible in placing an access request, including interviewee name, interview date, and OHP Control Number where possible.\u003c/p\u003e\n","\u003cp\u003eMost transcripts are available digitally. Staff should contact curators before retrieving containers from offsite storage.\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":["Access to interviews and administrative files is restricted.  Requests for access may be addressed to lib-specialcollections@fsu.edu. Requests will be reviewed by curators in consideration of interview rights and interviewee privacy. Please be as specific as possible in placing an access request, including interviewee name, interview date, and OHP Control Number where possible.","Most transcripts are available digitally. Staff should contact curators before retrieving containers from offsite storage.","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\u003eThe Reichelt Oral History Program was founded in the Florida State University Department of History in 1969 under by Dr. Edward F. Keuchel, with the intent of teaching oral\thistory techniques to students while documenting FSU's history.\u0026#xA0; In\t1996, with the encouragement of university president Sandy\tD'Alemberte, the program was established permanently as an entity\twithin the History Department. The program later expanded to include histories on the University, the Florida State College for Women, Tallahassee, Florida, veterans of World War II, the\tKorean conflict, the Vietnam War, and other military conflicts.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Reichelt Oral History Program was founded in the Florida State University Department of History in 1969 under by Dr. Edward F. Keuchel, with the intent of teaching oral\thistory techniques to students while documenting FSU's history.  In\t1996, with the encouragement of university president Sandy\tD'Alemberte, the program was established permanently as an entity\twithin the History Department. The program later expanded to include histories on the University, the Florida State College for Women, Tallahassee, Florida, veterans of World War II, the\tKorean conflict, the Vietnam War, and other military conflicts."],"prefercite_html_tesm":["\u003cp\u003eReichelt Oral History Collection, HUA 2015-00R, Special Collections \u0026amp; Archives, Florida State University, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/HPUA-2015-00R\"\u003ehttp://purl.fcla.edu/fsu/HPUA-2015-00R\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["Reichelt Oral History Collection, HUA 2015-00R, Special Collections \u0026 Archives, Florida State University, Tallahassee, Florida.  http://purl.fcla.edu/fsu/HPUA-2015-00R"],"scopecontent_html_tesm":["\u003cp\u003eSound recordings, transcripts, and administrative files documenting the activities of the Reichelt Oral History Program in the Florida State University Department of History. Significant interview topics include United States military, life in Florida and Tallahassee, and student life at Florida State University and its predecessor institution Florida State College for Women.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Sound recordings, transcripts, and administrative files documenting the activities of the Reichelt Oral History Program in the Florida State University Department of History. Significant interview topics include United States military, life in Florida and Tallahassee, and student life at Florida State University and its predecessor institution Florida State College for Women."],"userestrict_html_tesm":["\u003cp\u003eCopyright restrictions may apply to works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright restrictions may apply to works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"names_ssim":["FSU Special Collections \u0026 Archives"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2176,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870859629991297024,"_root_":"2adc31a30bfcd724088cd673","timestamp":"2026-07-16T08:32:58.674Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2adc31a30bfcd724088cd673_aspace_197861"}},{"id":"18ce43a3c782b797db9fa781_aspace_179273","type":"Item","attributes":{"title":"[Yard]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179273#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_179273#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179273","ref_ssm":["aspace_179273","aspace_179273"],"id":"18ce43a3c782b797db9fa781_aspace_179273","title_filing_ssi":"[Yard]","title_ssm":["[Yard]"],"title_tesim":["[Yard]"],"normalized_title_ssm":["[Yard]"],"text":["[Yard]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures, Family Pictures","Travel Pictures - Florida","Item 17","/repositories/2/archival_objects/83031","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179874","18ce43a3c782b797db9fa781_aspace_179256"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures, Family Pictures","Travel Pictures - Florida"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures, Family Pictures","Travel Pictures - Florida"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 17","/repositories/2/archival_objects/83031"],"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":1845,"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#29/components#0/components#16","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179256","_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_179273"}},{"id":"18ce43a3c782b797db9fa781_aspace_179279","type":"Item","attributes":{"title":"[Yard and building]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179279#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_179279#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179279","ref_ssm":["aspace_179279","aspace_179279"],"id":"18ce43a3c782b797db9fa781_aspace_179279","title_filing_ssi":"[Yard and building]","title_ssm":["[Yard and building]"],"title_tesim":["[Yard and building]"],"normalized_title_ssm":["[Yard and building]"],"text":["[Yard and building]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures, Family Pictures","Travel Pictures - Florida","Item 23","/repositories/2/archival_objects/83226","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179874","18ce43a3c782b797db9fa781_aspace_179256"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures, Family Pictures","Travel Pictures - Florida"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures, Family Pictures","Travel Pictures - Florida"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 23","/repositories/2/archival_objects/83226"],"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":1851,"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#29/components#0/components#22","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179256","_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.   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Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment. Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","Alphabetical by score name","Joe Merman was a composer, pianist, orchestrator, and arranger of popular Jewish and American music. The Joe Merman Music Collection includes 1000 pieces of sheet music; all scores are unpublished, single-copy manuscripts and represent his diverse talent in writing different combinations of big band charts and pieces for theatre and radio orchestras. 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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":["Copyright has not been transferred to the Florida State University Libraries.","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 and 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":["box 84","folder 2"],"_nest_path_":"/components#1/components#10/components#44","_nest_parent_":"022e496e4cf2baa955c5aab4_aspace_112579","_root_":"022e496e4cf2baa955c5aab4","_version_":1870859053015498752,"timestamp":"2026-07-16T08:23:48.189Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"022e496e4cf2baa955c5aab4","title_ssm":["German-American Lumber Company Records"],"title_tesim":["German-American Lumber Company Records"],"ead_ssi":"022e496e4cf2baa955c5aab4","unitdate_ssm":["1887-1927","1906-1920"],"unitdate_bulk_ssim":["1906-1920"],"unitdate_inclusive_ssm":["1887-1927"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 1986-27","/repositories/10/resources/604"],"text":["MSS 1986-27","/repositories/10/resources/604","German-American Lumber Company Records, 1887-1927, bulk 1906-1920","Florida--Economic conditions--20th Century","Pensacola (Fla.)--History","Saint Andrews Bay (Fla.)--History.","Economics and Society: Post-Civil War Florida, 1865-1913","World War I, 1914-1918--Florida","The Florida Boom and Bust, 1919-1929","Lumber trade--Florida--Pensacola","Lumber trade--Florida--Millville.","Shipbuilding--Florida","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.","In 1898, Henry Bovis, a French Canadian with ties to Bagdad, Florida, discovered the vast forests surrounding St. Andrews Bay and realized that the area would be the perfect port for a lumber operation. Bovis and his business partners built the St. Andrews Lumber Company sawmill on the east side of the bayou.\n Bovis and his partners sold their mill in 1901 to a German organization which renamed the business the German-American Lumber Company. J. R. Saunders served as president of the German-American Lumber Company when it was organized in Pensacola. This large company eventually owned over 200,000 acres around St. Andrews Bay and 125 miles of logging roads. It became one of the largest lumber companies in the country.\n The stock in the company was principally owned by the Emperor of Germany, Kaiser Wilhelm, whose nephew, H.G. Kulenkampff, frequently visited the mill. In 1906, Millville was selected as the site of operations for the sawmill owned by the German-American Lumber Company. At this time, the company owned 75,000 acres of land and employed 1500 people. It also supplied electric power for the entire community of Millville. According to an amendment of the German-American Lumber Company charter in 1911, the officers of the company were: H.G. Kulenkampff, president; H.H. Boyer, vice-president; Fr. Julius Schreyer, second vice-president; and G. Rolfs, secretary-treasurer.\n During World War I, after pro-German literature and a hidden gun emplacement were reportedly discovered in the mill, the U.S. Government seized the German-American Lumber Company. Newspapers around the country gave accounts of \"a spy center on St. Andrews Bay\" after the federal government's takeover of the mill under the Trading with the Enemy Act. From that point on, the mill continued to operate under the name of the American Lumber Company.\n In 1919, multimillionaire Minor C. Keith of New York and sawmill owner Walter C. Sherman bought the conglomerate known as the American Lumber Company (including subsidiary Bates \u0026 Rogers Construction Co.) from the government for 1.25 million dollars. They renamed it the St. Andrews Bay Lumber Company. This organization prospered during the 1920s. In a surprise move by the State Legislature, Millville became part of greater Panama City along with St. Andrews on March 12, 1926. The St. Andrews Bay Lumber Company continued to operate until 1930 when it was forced to close because most of the good timber was gone from the forests. The mill burned on March 22, 1931.","Portions of collection available online?: No","The German-American Lumber Company Records were transferred to the National Archives by the Office of the United States Alien Property Custodian prior to 1942 - possibly in the late 1930s or early 1940s. Assistant Archivist Robert Lando, an archival employee of the then Justice Division of the National Archives, processed the records. Lando prepared summary descriptive slips for each record series. V.L. Bedsole, Associate Archivist of the Archives' Justice Division at that time, reviewed the slips. Bedsole revised and annotated the slips and prepared rough record series entries. Completion of the work was prevented by the close of World War II and the reassignment of some members of the National Archives staff to new work assignments after the war.\nIn 1956, the Collection was transferred to Florida State University's Southern Business History Center. In 1957, Mr. Bedsole, who was now Head of Louisiana State University's Department of Archives and Manuscripts, noted in his letter (February 28, 1957) to Florida State University (recipient unknown), that if many of the rough inventory slips were not transferred to Florida State University (FSU) in 1956 as part of the files of the German-American Lumber Company, they may have been retained by the National Archives.\nThe Collection was later given to the FSU Libraries. Processing resumed in 1986, when Special Collections staff rehoused the materials in archival folders and boxes and created a temporary box list. Since that time, additional German-American Lumber Company materials were identified and processed.","Blount \u0026 Blount \u0026 Carter Papers, Beggs and Lane Collection, M1985-20, Special Collections, University of West Florida.","Veverka, T. (1957).  Scars of civilization: A progress-sketch biography of Walter Colquitt Sherman . Montgomery, Ala.: Paragon Press.  http://fsu.catalog.fcla.edu/permalink.jsp?23FS023750506","The German-American Lumber Company Records cover the years 1887-1922, and consist of correspondence, accounting records, ledgers, journals, cash books, time books, contracts and deeds, and other company records. In 1898, Henry Bovis and his partners built the St. Andrews Lumber Company sawmill on the St. Andrews Bay in Florida. He sold the mill in 1901 to a German organization which renamed the business the German-American Lumber Company. Following a period during World War I in which the mill was seized and held by the federal government, Minor C. Keith and Walter C. Sherman bought the company and renamed it the St. Andrews Bay Lumber Company. This organization operated until 1930 when it was forced to close because of timber depletion in the forests. The company records are organized into the following series: Correspondence; Financial Records; Legal Records; and Personnel Records.\n The Correspondence series, 1890-1920, comprises the most significant portion of the records and consists of business correspondence reflecting southern business interests, the economic history of Florida, especially the lumber trade business in Millville and Pensacola. Much of the correspondence relates to the orders of lumber to be shipped, delay of orders, payments of orders, ship construction, and other topics. One of the most prominent correspondents is H.H. Boyer, vice president of the company. This series also includes letters from various businesses and banks such as Donaldson Lumber Company, C.T. Patterson Company, American National Bank, Citizens and Southern Bank, Robert L. Merwin \u0026 Company, and others.\n The Financial Records series, 1887-1922, includes various accounting records, cash books, invoices, inventory records, shipping records, bank statements, and others. Cash books contain records of money received and paid out, showing dates of transactions, names of clients, descriptions of the transactions, and amounts received and expended. Ledgers contain postings to accounts receivable and accounts payable. Sales ledgers show logs of customer sales. This series also includes gold bonds of various amounts of money for the company. This series reflects the accounting system and financial history of the company over approximately twenty years.\n The Legal Records series, 1901-1919, consists of various abstracts, contracts, and deeds. Abstracts contain the copies of the abstracts to lands of the German-American Lumber Company, as well as the J.S. Betts Company in Jackson County, Florida.\n The Personnel Records series, 1902-1919, includes accident reports for employees of the company, personnel time records, and payroll memos. The series also includes time books contained in four bound volumes.","Copyright has not been transferred to the Florida State University Libraries.","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 and 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.","The collection includes correspondence, deeds, accounting records, bills and debt letters, contracts, invoices, shipping records, and various ledgers. The majority of the collection consists of correspondence, 1890-1920, concerning orders of lumber to be shipped, shipping status, and payments. A large portion of the collection is comprised of shipping records, 1904-1919, contained in 12 boxes.  It also contains 115 bound volumes including various ledgers, letter books, cash books, sales records, log books, shipping records, cash reports, and accounting journals.","FSU Special Collections \u0026 Archives","American Lumber Company","American National Bank","Citizens and Southern National Bank","C.T. Patterson Company","Donaldson Lumber Company","German-American Lumber Company","St. Andrews Lumber Company","Bovis, Henry","William II, German Emperor, 1959-1941","English"],"unitid_tesim":["MSS 1986-27","/repositories/10/resources/604"],"normalized_date_ssm":["1887-1927, bulk 1906-1920"],"normalized_title_ssm":["German-American Lumber Company Records, 1887-1927, bulk 1906-1920"],"collection_title_tesim":["German-American Lumber Company Records, 1887-1927, bulk 1906-1920"],"collection_ssim":["German-American Lumber Company Records, 1887-1927, bulk 1906-1920"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright has not been transferred to the Florida State University Libraries.","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 and 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":["According to a letter (February 28, 1957) from V.L. Bedsole, Head of Louisiana State University's Department of Archives and Manuscripts, to Florida State University (recipient unknown), the German-American Lumber Company Records were acquired by the National Archives in Washington, D.C. by transfer to that agency from the Office of the Alien Property Custodian. That transfer was made prior to 1942.\nIn a letter from Wayne C. Grover (December 28, 1955), Archivist of the United States, to Dr. M.M. Vance, Director of the Southern Business History Center at FSU, the German-American Lumber Company Records for 1890-1921 were offered for deposit with the Center. Grover noted in this letter that the Office of Alien Property Custodian did not regard these records as federal records, and therefore had no objection to their release to a public institution.\nNorman L. Kilpatrick, Director of Libraries at FSU and Secretary of the Southern Business History Center, acknowledged in a letter (January 11, 1956) to Wayne C. Grover that the Center would gladly accept this collection. The Collection was subsequently given to the FSU Libraries, although the date of this transfer has not been determined."],"access_subjects_ssim":["Florida--Economic conditions--20th Century","Pensacola (Fla.)--History","Saint Andrews Bay (Fla.)--History.","Economics and Society: Post-Civil War Florida, 1865-1913","World War I, 1914-1918--Florida","The Florida Boom and Bust, 1919-1929","Lumber trade--Florida--Pensacola","Lumber trade--Florida--Millville.","Shipbuilding--Florida"],"access_subjects_ssm":["Florida--Economic conditions--20th Century","Pensacola (Fla.)--History","Saint Andrews Bay (Fla.)--History.","Economics and Society: Post-Civil War Florida, 1865-1913","World War I, 1914-1918--Florida","The Florida Boom and Bust, 1919-1929","Lumber trade--Florida--Pensacola","Lumber trade--Florida--Millville.","Shipbuilding--Florida"],"has_online_content_ssim":["false"],"extent_ssm":["163.36 Linear Feet"],"extent_tesim":["163.36 Linear Feet"],"date_range_isim":[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],"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\u003eIn 1898, Henry Bovis, a French Canadian with ties to Bagdad, Florida, discovered the vast forests surrounding St. Andrews Bay and realized that the area would be the perfect port for a lumber operation. Bovis and his business partners built the St. Andrews Lumber Company sawmill on the east side of the bayou.\n\u003cbr\u003e\u003cbr\u003eBovis and his partners sold their mill in 1901 to a German organization which renamed the business the German-American Lumber Company. J. R. Saunders served as president of the German-American Lumber Company when it was organized in Pensacola. This large company eventually owned over 200,000 acres around St. Andrews Bay and 125 miles of logging roads. It became one of the largest lumber companies in the country.\n\u003cbr\u003e\u003cbr\u003eThe stock in the company was principally owned by the Emperor of Germany, Kaiser Wilhelm, whose nephew, H.G. Kulenkampff, frequently visited the mill. In 1906, Millville was selected as the site of operations for the sawmill owned by the German-American Lumber Company. At this time, the company owned 75,000 acres of land and employed 1500 people. It also supplied electric power for the entire community of Millville. According to an amendment of the German-American Lumber Company charter in 1911, the officers of the company were: H.G. Kulenkampff, president; H.H. Boyer, vice-president; Fr. Julius Schreyer, second vice-president; and G. Rolfs, secretary-treasurer.\n\u003cbr\u003e\u003cbr\u003eDuring World War I, after pro-German literature and a hidden gun emplacement were reportedly discovered in the mill, the U.S. Government seized the German-American Lumber Company. Newspapers around the country gave accounts of \"a spy center on St. Andrews Bay\" after the federal government's takeover of the mill under the Trading with the Enemy Act. From that point on, the mill continued to operate under the name of the American Lumber Company.\n\u003cbr\u003e\u003cbr\u003eIn 1919, multimillionaire Minor C. Keith of New York and sawmill owner Walter C. Sherman bought the conglomerate known as the American Lumber Company (including subsidiary Bates \u0026amp; Rogers Construction Co.) from the government for 1.25 million dollars. They renamed it the St. Andrews Bay Lumber Company. This organization prospered during the 1920s. In a surprise move by the State Legislature, Millville became part of greater Panama City along with St. Andrews on March 12, 1926. The St. Andrews Bay Lumber Company continued to operate until 1930 when it was forced to close because most of the good timber was gone from the forests. The mill burned on March 22, 1931.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1898, Henry Bovis, a French Canadian with ties to Bagdad, Florida, discovered the vast forests surrounding St. Andrews Bay and realized that the area would be the perfect port for a lumber operation. Bovis and his business partners built the St. Andrews Lumber Company sawmill on the east side of the bayou.\n Bovis and his partners sold their mill in 1901 to a German organization which renamed the business the German-American Lumber Company. J. R. Saunders served as president of the German-American Lumber Company when it was organized in Pensacola. This large company eventually owned over 200,000 acres around St. Andrews Bay and 125 miles of logging roads. It became one of the largest lumber companies in the country.\n The stock in the company was principally owned by the Emperor of Germany, Kaiser Wilhelm, whose nephew, H.G. Kulenkampff, frequently visited the mill. In 1906, Millville was selected as the site of operations for the sawmill owned by the German-American Lumber Company. At this time, the company owned 75,000 acres of land and employed 1500 people. It also supplied electric power for the entire community of Millville. According to an amendment of the German-American Lumber Company charter in 1911, the officers of the company were: H.G. Kulenkampff, president; H.H. Boyer, vice-president; Fr. Julius Schreyer, second vice-president; and G. Rolfs, secretary-treasurer.\n During World War I, after pro-German literature and a hidden gun emplacement were reportedly discovered in the mill, the U.S. Government seized the German-American Lumber Company. Newspapers around the country gave accounts of \"a spy center on St. Andrews Bay\" after the federal government's takeover of the mill under the Trading with the Enemy Act. From that point on, the mill continued to operate under the name of the American Lumber Company.\n In 1919, multimillionaire Minor C. Keith of New York and sawmill owner Walter C. Sherman bought the conglomerate known as the American Lumber Company (including subsidiary Bates \u0026 Rogers Construction Co.) from the government for 1.25 million dollars. They renamed it the St. Andrews Bay Lumber Company. This organization prospered during the 1920s. In a surprise move by the State Legislature, Millville became part of greater Panama City along with St. Andrews on March 12, 1926. The St. Andrews Bay Lumber Company continued to operate until 1930 when it was forced to close because most of the good timber was gone from the forests. The mill burned on March 22, 1931."],"originalsloc_html_tesm":["\u003cp\u003ePortions of collection available online?: No\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Portions of collection available online?: No"],"prefercite_html_tesm":["\u003cp\u003eGerman-American Lumber Company Records, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-1986-27\u003c/p\u003e"],"prefercite_tesim":["German-American Lumber Company Records, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-1986-27"],"processinfo_html_tesm":["\u003cp\u003eThe German-American Lumber Company Records were transferred to the National Archives by the Office of the United States Alien Property Custodian prior to 1942 - possibly in the late 1930s or early 1940s. Assistant Archivist Robert Lando, an archival employee of the then Justice Division of the National Archives, processed the records. Lando prepared summary descriptive slips for each record series. V.L. Bedsole, Associate Archivist of the Archives' Justice Division at that time, reviewed the slips. Bedsole revised and annotated the slips and prepared rough record series entries. Completion of the work was prevented by the close of World War II and the reassignment of some members of the National Archives staff to new work assignments after the war.\nIn 1956, the Collection was transferred to Florida State University's Southern Business History Center. In 1957, Mr. Bedsole, who was now Head of Louisiana State University's Department of Archives and Manuscripts, noted in his letter (February 28, 1957) to Florida State University (recipient unknown), that if many of the rough inventory slips were not transferred to Florida State University (FSU) in 1956 as part of the files of the German-American Lumber Company, they may have been retained by the National Archives.\nThe Collection was later given to the FSU Libraries. Processing resumed in 1986, when Special Collections staff rehoused the materials in archival folders and boxes and created a temporary box list. Since that time, additional German-American Lumber Company materials were identified and processed.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The German-American Lumber Company Records were transferred to the National Archives by the Office of the United States Alien Property Custodian prior to 1942 - possibly in the late 1930s or early 1940s. Assistant Archivist Robert Lando, an archival employee of the then Justice Division of the National Archives, processed the records. Lando prepared summary descriptive slips for each record series. V.L. Bedsole, Associate Archivist of the Archives' Justice Division at that time, reviewed the slips. Bedsole revised and annotated the slips and prepared rough record series entries. Completion of the work was prevented by the close of World War II and the reassignment of some members of the National Archives staff to new work assignments after the war.\nIn 1956, the Collection was transferred to Florida State University's Southern Business History Center. In 1957, Mr. Bedsole, who was now Head of Louisiana State University's Department of Archives and Manuscripts, noted in his letter (February 28, 1957) to Florida State University (recipient unknown), that if many of the rough inventory slips were not transferred to Florida State University (FSU) in 1956 as part of the files of the German-American Lumber Company, they may have been retained by the National Archives.\nThe Collection was later given to the FSU Libraries. Processing resumed in 1986, when Special Collections staff rehoused the materials in archival folders and boxes and created a temporary box list. Since that time, additional German-American Lumber Company materials were identified and processed."],"relatedmaterial_html_tesm":["\u003cp\u003eBlount \u0026amp; Blount \u0026amp; Carter Papers, Beggs and Lane Collection, M1985-20, Special Collections, University of West Florida.\u003c/p\u003e\n","\u003cp\u003eVeverka, T. (1957). \u003cemph render=\"italic\"\u003eScars of civilization: A progress-sketch biography of Walter Colquitt Sherman\u003c/emph\u003e. Montgomery, Ala.: Paragon Press. \u003cextref href=\"http://fsu.catalog.fcla.edu/permalink.jsp?23FS023750506\"\u003ehttp://fsu.catalog.fcla.edu/permalink.jsp?23FS023750506\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Blount \u0026 Blount \u0026 Carter Papers, Beggs and Lane Collection, M1985-20, Special Collections, University of West Florida.","Veverka, T. (1957).  Scars of civilization: A progress-sketch biography of Walter Colquitt Sherman . Montgomery, Ala.: Paragon Press.  http://fsu.catalog.fcla.edu/permalink.jsp?23FS023750506"],"scopecontent_html_tesm":["\u003cp\u003eThe German-American Lumber Company Records cover the years 1887-1922, and consist of correspondence, accounting records, ledgers, journals, cash books, time books, contracts and deeds, and other company records. In 1898, Henry Bovis and his partners built the St. Andrews Lumber Company sawmill on the St. Andrews Bay in Florida. He sold the mill in 1901 to a German organization which renamed the business the German-American Lumber Company. Following a period during World War I in which the mill was seized and held by the federal government, Minor C. Keith and Walter C. Sherman bought the company and renamed it the St. Andrews Bay Lumber Company. This organization operated until 1930 when it was forced to close because of timber depletion in the forests. The company records are organized into the following series: Correspondence; Financial Records; Legal Records; and Personnel Records.\n\u003cbr\u003e\u003cbr\u003eThe Correspondence series, 1890-1920, comprises the most significant portion of the records and consists of business correspondence reflecting southern business interests, the economic history of Florida, especially the lumber trade business in Millville and Pensacola. Much of the correspondence relates to the orders of lumber to be shipped, delay of orders, payments of orders, ship construction, and other topics. One of the most prominent correspondents is H.H. Boyer, vice president of the company. This series also includes letters from various businesses and banks such as Donaldson Lumber Company, C.T. Patterson Company, American National Bank, Citizens and Southern Bank, Robert L. Merwin \u0026amp; Company, and others.\n\u003cbr\u003e\u003cbr\u003eThe Financial Records series, 1887-1922, includes various accounting records, cash books, invoices, inventory records, shipping records, bank statements, and others. Cash books contain records of money received and paid out, showing dates of transactions, names of clients, descriptions of the transactions, and amounts received and expended. Ledgers contain postings to accounts receivable and accounts payable. Sales ledgers show logs of customer sales. This series also includes gold bonds of various amounts of money for the company. This series reflects the accounting system and financial history of the company over approximately twenty years.\n\u003cbr\u003e\u003cbr\u003eThe Legal Records series, 1901-1919, consists of various abstracts, contracts, and deeds. Abstracts contain the copies of the abstracts to lands of the German-American Lumber Company, as well as the J.S. Betts Company in Jackson County, Florida.\n\u003cbr\u003e\u003cbr\u003eThe Personnel Records series, 1902-1919, includes accident reports for employees of the company, personnel time records, and payroll memos. The series also includes time books contained in four bound volumes.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The German-American Lumber Company Records cover the years 1887-1922, and consist of correspondence, accounting records, ledgers, journals, cash books, time books, contracts and deeds, and other company records. In 1898, Henry Bovis and his partners built the St. Andrews Lumber Company sawmill on the St. Andrews Bay in Florida. He sold the mill in 1901 to a German organization which renamed the business the German-American Lumber Company. Following a period during World War I in which the mill was seized and held by the federal government, Minor C. Keith and Walter C. Sherman bought the company and renamed it the St. Andrews Bay Lumber Company. This organization operated until 1930 when it was forced to close because of timber depletion in the forests. The company records are organized into the following series: Correspondence; Financial Records; Legal Records; and Personnel Records.\n The Correspondence series, 1890-1920, comprises the most significant portion of the records and consists of business correspondence reflecting southern business interests, the economic history of Florida, especially the lumber trade business in Millville and Pensacola. Much of the correspondence relates to the orders of lumber to be shipped, delay of orders, payments of orders, ship construction, and other topics. One of the most prominent correspondents is H.H. Boyer, vice president of the company. This series also includes letters from various businesses and banks such as Donaldson Lumber Company, C.T. Patterson Company, American National Bank, Citizens and Southern Bank, Robert L. Merwin \u0026 Company, and others.\n The Financial Records series, 1887-1922, includes various accounting records, cash books, invoices, inventory records, shipping records, bank statements, and others. Cash books contain records of money received and paid out, showing dates of transactions, names of clients, descriptions of the transactions, and amounts received and expended. Ledgers contain postings to accounts receivable and accounts payable. Sales ledgers show logs of customer sales. This series also includes gold bonds of various amounts of money for the company. This series reflects the accounting system and financial history of the company over approximately twenty years.\n The Legal Records series, 1901-1919, consists of various abstracts, contracts, and deeds. Abstracts contain the copies of the abstracts to lands of the German-American Lumber Company, as well as the J.S. Betts Company in Jackson County, Florida.\n The Personnel Records series, 1902-1919, includes accident reports for employees of the company, personnel time records, and payroll memos. The series also includes time books contained in four bound volumes."],"userestrict_html_tesm":["\u003cp\u003eCopyright has not been transferred to the Florida State University Libraries.\u003c/p\u003e\n","\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 and 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":["Copyright has not been transferred to the Florida State University Libraries.","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 and 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."],"abstract_html_tesm":["\u003cabstract id=\"aspace_5d4bb66ce4cf91e7b6e90c9159d1298d\" label=\"Abstract\"\u003eThe collection includes correspondence, deeds, accounting records, bills and debt letters, contracts, invoices, shipping records, and various ledgers. The majority of the collection consists of correspondence, 1890-1920, concerning orders of lumber to be shipped, shipping status, and payments. A large portion of the collection is comprised of shipping records, 1904-1919, contained in 12 boxes.\u0026#xA0; It also contains 115 bound volumes including various ledgers, letter books, cash books, sales records, log books, shipping records, cash reports, and accounting journals.\u003c/abstract\u003e"],"abstract_tesim":["The collection includes correspondence, deeds, accounting records, bills and debt letters, contracts, invoices, shipping records, and various ledgers. The majority of the collection consists of correspondence, 1890-1920, concerning orders of lumber to be shipped, shipping status, and payments. A large portion of the collection is comprised of shipping records, 1904-1919, contained in 12 boxes.  It also contains 115 bound volumes including various ledgers, letter books, cash books, sales records, log books, shipping records, cash reports, and accounting journals."],"names_coll_ssim":["American Lumber Company","American National Bank","Citizens and Southern National Bank","C.T. Patterson Company","Donaldson Lumber Company","German-American Lumber Company","St. Andrews Lumber Company","Bovis, Henry","William II, German Emperor, 1959-1941"],"names_ssim":["FSU Special Collections \u0026 Archives","American Lumber Company","American National Bank","Citizens and Southern National Bank","C.T. Patterson Company","Donaldson Lumber Company","German-American Lumber Company","St. Andrews Lumber Company","Bovis, Henry","William II, German Emperor, 1959-1941"],"corpname_ssim":["FSU Special Collections \u0026 Archives","American Lumber Company","American National Bank","Citizens and Southern National Bank","C.T. Patterson Company","Donaldson Lumber Company","German-American Lumber Company","St. Andrews Lumber Company"],"persname_ssim":["Bovis, Henry","William II, German Emperor, 1959-1941"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1733,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870859053015498752,"_root_":"022e496e4cf2baa955c5aab4","timestamp":"2026-07-16T08:23:48.189Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/022e496e4cf2baa955c5aab4_aspace_112634"}},{"id":"3f577f306594bd87654ad43b_aspace_74756","type":"File","attributes":{"title":"Yardino","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/3f577f306594bd87654ad43b_aspace_74756#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_74756","ref_ssm":["aspace_74756","aspace_74756"],"id":"3f577f306594bd87654ad43b_aspace_74756","title_filing_ssi":"Yardino","title_ssm":["Yardino"],"title_tesim":["Yardino"],"normalized_title_ssm":["Yardino"],"text":["Yardino","Carbonell Cuban Genealogy Collection, date unknown","Box 3","Folder 61","/repositories/2/archival_objects/3793","folder 61"],"component_level_isim":[2],"parent_ids_ssim":["3f577f306594bd87654ad43b","3f577f306594bd87654ad43b_aspace_74376"],"parent_unittitles_ssm":["Carbonell Cuban Genealogy Collection, date unknown","Box 3"],"parent_unittitles_tesim":["Carbonell Cuban Genealogy Collection, date unknown","Box 3"],"parent_levels_ssm":["collection","Other level"],"unitid_ssm":["Folder 61","/repositories/2/archival_objects/3793"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Carbonell Cuban Genealogy Collection, date unknown"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":380,"containers_ssim":["folder 61"],"_nest_path_":"/components#2/components#60","_nest_parent_":"3f577f306594bd87654ad43b_aspace_74376","_root_":"3f577f306594bd87654ad43b","_version_":1873018713513394176,"timestamp":"2026-08-09T04:30:41.223Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"3f577f306594bd87654ad43b","title_ssm":["Carbonell Cuban Genealogy Collection"],"title_tesim":["Carbonell Cuban Genealogy Collection"],"ead_ssi":"3f577f306594bd87654ad43b","unitdate_ssm":["date unknown"],"unitdate_other_ssim":["date unknown"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC8025","/repositories/2/resources/10"],"text":["SPC8025","/repositories/2/resources/10","Carbonell Cuban Genealogy Collection, date unknown","Cuba -- Genealogy","Ancestry"," Family history "," Genealogy","Genealogia","The collection is organized in alphabetical order by family's last name.","FIU Special Collections","Spanish; Castilian"],"unitid_tesim":["SPC8025","/repositories/2/resources/10"],"normalized_date_ssm":["date unknown"],"normalized_title_ssm":["Carbonell Cuban Genealogy Collection, date unknown"],"collection_title_tesim":["Carbonell Cuban Genealogy Collection, date unknown"],"collection_ssim":["Carbonell Cuban Genealogy Collection, date unknown"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_subjects_ssim":["Cuba -- Genealogy","Ancestry"," Family history "," Genealogy","Genealogia"],"access_subjects_ssm":["Cuba -- Genealogy","Ancestry"," Family history "," Genealogy","Genealogia"],"has_online_content_ssim":["false"],"extent_ssm":["3.00 boxes"],"extent_tesim":["3.00 boxes"],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized in alphabetical order by family's last name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is organized in alphabetical order by family's last name."],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["Spanish; Castilian"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":384,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1873018713513394176,"_root_":"3f577f306594bd87654ad43b","timestamp":"2026-08-09T04:30:41.223Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/3f577f306594bd87654ad43b_aspace_74756"}},{"id":"998ae1dfeac58871a130992b_aspace_55e2b645d102f07d258816d1c1e886fc","type":"File","attributes":{"title":"Yardman Competition, 1992 September 26","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/998ae1dfeac58871a130992b_aspace_55e2b645d102f07d258816d1c1e886fc#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThomasville Road and Kmart, Tallahassee\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/998ae1dfeac58871a130992b_aspace_55e2b645d102f07d258816d1c1e886fc#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_55e2b645d102f07d258816d1c1e886fc","ref_ssm":["aspace_55e2b645d102f07d258816d1c1e886fc","aspace_55e2b645d102f07d258816d1c1e886fc"],"id":"998ae1dfeac58871a130992b_aspace_55e2b645d102f07d258816d1c1e886fc","title_filing_ssi":"Yardman Competition","title_ssm":["Yardman Competition"],"title_tesim":["Yardman Competition"],"unitdate_other_ssim":["1992 September 26"],"normalized_date_ssm":["1992 September 26"],"normalized_title_ssm":["Yardman Competition, 1992 September 26"],"text":["Yardman Competition, 1992 September 26","Mark Wallheiser Photographic Collection, 1980-2024","Negatives, 1980-2004","Box 9","/repositories/10/archival_objects/240271","box 9","Thomasville Road and Kmart, Tallahassee"],"component_level_isim":[3],"parent_ids_ssim":["998ae1dfeac58871a130992b","998ae1dfeac58871a130992b_aspace_558164c2217b036c21bcfa52c37f4950","998ae1dfeac58871a130992b_aspace_cb9011b28ad26d2ddb13c5afcc2a8227"],"parent_unittitles_ssm":["Mark Wallheiser Photographic Collection, 1980-2024","Negatives, 1980-2004","Box 9"],"parent_unittitles_tesim":["Mark Wallheiser Photographic Collection, 1980-2024","Negatives, 1980-2004","Box 9"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/10/archival_objects/240271"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Mark Wallheiser Photographic Collection, 1980-2024"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":3254,"parent_access_restrict_tesm":["Boxes 1-32 and 35 of this collection are open to all researchers.","Boxes 33 and 34 are restricted. Access will be reviewed upon request by curators, screening for confidential or sensitive information. Contact lib-specialcollections@fsu.edu for more information about access to these materials.","All boxes may be accessed by researchers upon request at the Claude Pepper Library."],"parent_access_terms_tesm":["Copyright in images created by Wallheiser are held by the Wallheiser estate.","Re-use or copying of these works beyond Fair Use may require permission from the rights-holder. For more information, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu."],"containers_ssim":["box 9"],"scopecontent_html_tesm":["\u003cp\u003eThomasville Road and Kmart, Tallahassee\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Thomasville Road and Kmart, Tallahassee"],"_nest_path_":"/components#0/components#8/components#209","_nest_parent_":"998ae1dfeac58871a130992b_aspace_cb9011b28ad26d2ddb13c5afcc2a8227","_root_":"998ae1dfeac58871a130992b","_version_":1877107886885175296,"timestamp":"2026-09-23T07:46:20.757Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"998ae1dfeac58871a130992b","title_filing_ssi":"Wallheiser Photographic Collection","title_ssm":["Mark Wallheiser Photographic Collection"],"title_tesim":["Mark Wallheiser Photographic Collection"],"ead_ssi":"998ae1dfeac58871a130992b","unitdate_ssm":["1980-2024"],"unitdate_inclusive_ssm":["1980-2024"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SCA 2024-008","/repositories/10/resources/2668"],"text":["SCA 2024-008","/repositories/10/resources/2668","Mark Wallheiser Photographic Collection, 1980-2024","Boxes 1-32 and 35 of this collection are open to all researchers.","Boxes 33 and 34 are restricted. Access will be reviewed upon request by curators, screening for confidential or sensitive information. Contact lib-specialcollections@fsu.edu for more information about access to these materials.","All boxes may be accessed by researchers upon request at the Claude Pepper Library.","Mark Wallheiser was a staff photographer at the Tallahassee Democrat from 1981 to 2008, and a freelancer from 2008 to 2025. He was known for his coverage of natural disasters, high school and collegiate athletics, and American politics.","He graduated from Western Kentucky University where he initially majored in English before switching to multimedia. he left Tennessee for Alabama to work for the Montgomery Advertiser in 1978.","The Society for Professional Journalism named him Florida News Photographer of the Year in 1989. After multiple individual Pulitzer Prize nominations, Wallheiser was part of a team that won the 2006 Pulitzer Prize in Public Service covering Hurricane Katrina. He was nominated again for a Pulitzer Prize for an image he captured of Donald Trump at a rally in Mobile, Alabama.\nHis work was featured on the cover of the Washington Post, the New York Times, USA Today and in other media outlets.","Wallheiser retired from FAMU-FSU College of Engineering in December 2023.","Wallheiser, 72, died of cancer on May 15, 2026.","Sources:","https://www.markwallheiser.com/","William L. Hatfield. (May 16, 2026). A life behind the lens: Local Pulitzer-winning photographer and mentor dies.  Tallahassee Democrat .  https://www.tallahassee.com/story/news/2026/05/16/pulitzer-winning-photojournalist-mark-wallheiser-dies-tallahassee-photos/90108314007/","This collection does not have a box 31.","Mark Wallheiser Photography.  https://www.markwallheiser.com/ \nat the Internet Archive:  https://wayback.archive-it.org/31388/*/https://www.markwallheiser.com/","Digital images, film negatives, and photographic prints documenting the photography career of Mark Wallheiser. Major topics include: Florida State University athletics and campus life; Florida A\u0026M University athletics; National Football League; 2000 US Presidential Election events in Florida; North Florida scenes and locations; and Wallheiser's Pulitzer-nominated photo essays on crack cocaine use in Tallahassee and Hurricane Katrina.","Portions of this collection include graphic depictions of drug use, the aftermath of natural disasters, and human remains. Some content may be traumatic to researchers and difficult to view. See our full Statement on Potentially Harmful Content here:  https://repository.lib.fsu.edu/potentially-harmful-content-statement","Selected images from this collection have been digitized and are available through  PASS .","Copyright in images created by Wallheiser are held by the Wallheiser estate.","Re-use or copying of these works beyond Fair Use may require permission from the rights-holder. For more information, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","FSU Special Collections \u0026 Archives","English"],"unitid_tesim":["SCA 2024-008","/repositories/10/resources/2668"],"normalized_date_ssm":["1980-2024"],"normalized_title_ssm":["Mark Wallheiser Photographic Collection, 1980-2024"],"collection_title_tesim":["Mark Wallheiser Photographic Collection, 1980-2024"],"collection_ssim":["Mark Wallheiser Photographic Collection, 1980-2024"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright in images created by Wallheiser are held by the Wallheiser estate.","Re-use or copying of these works beyond Fair Use may require permission from the rights-holder. For more information, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu."],"acqinfo_ssim":["Property rights transfer and copyright license executed by SCA Deed of Gift, March 28, 2023.","Negatives, prints, and optical disks transported to FSU Libraries on April 30, 2024.","Transfer of additional digital images expected in May 2024."],"has_online_content_ssim":["false"],"extent_ssm":["30 Linear Feet"],"extent_tesim":["30 Linear Feet"],"date_range_isim":[1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eBoxes 1-32 and 35 of this collection are open to all researchers.\u003c/p\u003e\n","\u003cp\u003eBoxes 33 and 34 are restricted. Access will be reviewed upon request by curators, screening for confidential or sensitive information. Contact lib-specialcollections@fsu.edu for more information about access to these materials.\u003c/p\u003e\n","\u003cp\u003eAll boxes may be accessed by researchers upon request at the Claude Pepper Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Boxes 1-32 and 35 of this collection are open to all researchers.","Boxes 33 and 34 are restricted. Access will be reviewed upon request by curators, screening for confidential or sensitive information. Contact lib-specialcollections@fsu.edu for more information about access to these materials.","All boxes may be accessed by researchers upon request at the Claude Pepper Library."],"bioghist_html_tesm":["\u003cp\u003eMark Wallheiser was a staff photographer at the Tallahassee Democrat from 1981 to 2008, and a freelancer from 2008 to 2025. He was known for his coverage of natural disasters, high school and collegiate athletics, and American politics.\u003c/p\u003e\n","\u003cp\u003eHe graduated from Western Kentucky University where he initially majored in English before switching to multimedia. he left Tennessee for Alabama to work for the Montgomery Advertiser in 1978.\u003c/p\u003e\n","\u003cp\u003eThe Society for Professional Journalism named him Florida News Photographer of the Year in 1989. After multiple individual Pulitzer Prize nominations, Wallheiser was part of a team that won the 2006 Pulitzer Prize in Public Service covering Hurricane Katrina. He was nominated again for a Pulitzer Prize for an image he captured of Donald Trump at a rally in Mobile, Alabama.\nHis work was featured on the cover of the Washington Post, the New York Times, USA Today and in other media outlets.\u003c/p\u003e\n","\u003cp\u003eWallheiser retired from FAMU-FSU College of Engineering in December 2023.\u003c/p\u003e\n","\u003cp\u003eWallheiser, 72, died of cancer on May 15, 2026.\u003c/p\u003e\n","\u003cp\u003eSources:\u003c/p\u003e\n","\u003cp\u003e\u003cextref href=\"https://www.markwallheiser.com/\"\u003ehttps://www.markwallheiser.com/\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eWilliam L. Hatfield. (May 16, 2026). A life behind the lens: Local Pulitzer-winning photographer and mentor dies. \u003cemph render=\"italic\"\u003eTallahassee Democrat\u003c/emph\u003e. \u003cextref href=\"https://www.tallahassee.com/story/news/2026/05/16/pulitzer-winning-photojournalist-mark-wallheiser-dies-tallahassee-photos/90108314007/\"\u003ehttps://www.tallahassee.com/story/news/2026/05/16/pulitzer-winning-photojournalist-mark-wallheiser-dies-tallahassee-photos/90108314007/\u003c/extref\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Mark Wallheiser was a staff photographer at the Tallahassee Democrat from 1981 to 2008, and a freelancer from 2008 to 2025. He was known for his coverage of natural disasters, high school and collegiate athletics, and American politics.","He graduated from Western Kentucky University where he initially majored in English before switching to multimedia. he left Tennessee for Alabama to work for the Montgomery Advertiser in 1978.","The Society for Professional Journalism named him Florida News Photographer of the Year in 1989. After multiple individual Pulitzer Prize nominations, Wallheiser was part of a team that won the 2006 Pulitzer Prize in Public Service covering Hurricane Katrina. He was nominated again for a Pulitzer Prize for an image he captured of Donald Trump at a rally in Mobile, Alabama.\nHis work was featured on the cover of the Washington Post, the New York Times, USA Today and in other media outlets.","Wallheiser retired from FAMU-FSU College of Engineering in December 2023.","Wallheiser, 72, died of cancer on May 15, 2026.","Sources:","https://www.markwallheiser.com/","William L. Hatfield. (May 16, 2026). A life behind the lens: Local Pulitzer-winning photographer and mentor dies.  Tallahassee Democrat .  https://www.tallahassee.com/story/news/2026/05/16/pulitzer-winning-photojournalist-mark-wallheiser-dies-tallahassee-photos/90108314007/"],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], [Box and Folder number], Mark Wallheiser Photographic Collection, SCA 2024-008, Special Collections \u0026amp; Archives, Florida State University, Tallahassee, Florida. http://purl.lib.fsu.edu/fa/SCA-2024-008\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], [Box and Folder number], Mark Wallheiser Photographic Collection, SCA 2024-008, Special Collections \u0026 Archives, Florida State University, Tallahassee, Florida. http://purl.lib.fsu.edu/fa/SCA-2024-008"],"processinfo_html_tesm":["\u003cp\u003eThis collection does not have a box 31.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection does not have a box 31."],"relatedmaterial_html_tesm":["\u003cp\u003eMark Wallheiser Photography. \u003cextref href=\"https://www.markwallheiser.com/\"\u003ehttps://www.markwallheiser.com/\u003c/extref\u003e\n\u003cbr\u003e\nat the Internet Archive: \u003cextref href=\"https://wayback.archive-it.org/31388/*/https://www.markwallheiser.com/\"\u003ehttps://wayback.archive-it.org/31388/*/https://www.markwallheiser.com/\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Mark Wallheiser Photography.  https://www.markwallheiser.com/ \nat the Internet Archive:  https://wayback.archive-it.org/31388/*/https://www.markwallheiser.com/"],"scopecontent_html_tesm":["\u003cp\u003eDigital images, film negatives, and photographic prints documenting the photography career of Mark Wallheiser. Major topics include: Florida State University athletics and campus life; Florida A\u0026amp;M University athletics; National Football League; 2000 US Presidential Election events in Florida; North Florida scenes and locations; and Wallheiser's Pulitzer-nominated photo essays on crack cocaine use in Tallahassee and Hurricane Katrina.\u003c/p\u003e","\u003cp\u003ePortions of this collection include graphic depictions of drug use, the aftermath of natural disasters, and human remains. Some content may be traumatic to researchers and difficult to view. See our full Statement on Potentially Harmful Content here: \u003cextref href=\"https://repository.lib.fsu.edu/potentially-harmful-content-statement\"\u003ehttps://repository.lib.fsu.edu/potentially-harmful-content-statement\u003c/extref\u003e\u003c/p\u003e","\u003cp\u003eSelected images from this collection have been digitized and are available through \u003cextref href=\"http://pass.lib.fsu.edu/#Mark_Wallheiser_Photographic_Collection_2024-008/\"\u003ePASS\u003c/extref\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Potentially Harmful Content","Online Copies Available"],"scopecontent_tesim":["Digital images, film negatives, and photographic prints documenting the photography career of Mark Wallheiser. Major topics include: Florida State University athletics and campus life; Florida A\u0026M University athletics; National Football League; 2000 US Presidential Election events in Florida; North Florida scenes and locations; and Wallheiser's Pulitzer-nominated photo essays on crack cocaine use in Tallahassee and Hurricane Katrina.","Portions of this collection include graphic depictions of drug use, the aftermath of natural disasters, and human remains. Some content may be traumatic to researchers and difficult to view. See our full Statement on Potentially Harmful Content here:  https://repository.lib.fsu.edu/potentially-harmful-content-statement","Selected images from this collection have been digitized and are available through  PASS ."],"userestrict_html_tesm":["\u003cp\u003eCopyright in images created by Wallheiser are held by the Wallheiser estate.\u003c/p\u003e\n","\u003cp\u003eRe-use or copying of these works beyond Fair Use may require permission from the rights-holder. For more information, contact Special Collections \u0026amp; Archives staff at lib-specialcollections@fsu.edu.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright in images created by Wallheiser are held by the Wallheiser estate.","Re-use or copying of these works beyond Fair Use may require permission from the rights-holder. For more information, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu."],"names_ssim":["FSU Special Collections \u0026 Archives"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"language_ssim":["English"],"total_component_count_is":5345,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1877107886885175296,"_root_":"998ae1dfeac58871a130992b","timestamp":"2026-09-23T07:46:20.757Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/998ae1dfeac58871a130992b_aspace_55e2b645d102f07d258816d1c1e886fc"}},{"id":"bfd41a7c19618933042e1aeb_aspace_130616","type":"File","attributes":{"title":"Yard sale fundraiser (?), 1996","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/bfd41a7c19618933042e1aeb_aspace_130616#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_130616","ref_ssm":["aspace_130616","aspace_130616"],"id":"bfd41a7c19618933042e1aeb_aspace_130616","title_filing_ssi":"Yard sale fundraiser (?)","title_ssm":["Yard sale fundraiser (?)"],"title_tesim":["Yard sale fundraiser (?)"],"unitdate_other_ssim":["1996"],"normalized_date_ssm":["1996"],"normalized_title_ssm":["Yard sale fundraiser (?), 1996"],"text":["Yard sale fundraiser (?), 1996","Rex Maniscalco collection, 1980-2002, bulk 1990-2002","Photographs - Social Life and Customs, Organizations","Folder 14","/repositories/2/archival_objects/52868","box 8","folder 14"],"component_level_isim":[2],"parent_ids_ssim":["bfd41a7c19618933042e1aeb","bfd41a7c19618933042e1aeb_aspace_130594"],"parent_unittitles_ssm":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002","Photographs - Social Life and Customs, Organizations"],"parent_unittitles_tesim":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002","Photographs - Social Life and Customs, Organizations"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Folder 14","/repositories/2/archival_objects/52868"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":157,"parent_access_terms_tesm":["No restrictions.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"date_range_isim":[1996],"containers_ssim":["box 8","folder 14"],"_nest_path_":"/components#7/components#13","_nest_parent_":"bfd41a7c19618933042e1aeb_aspace_130594","_root_":"bfd41a7c19618933042e1aeb","_version_":1871677752741986304,"timestamp":"2026-07-25T09:16:41.370Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"bfd41a7c19618933042e1aeb","title_ssm":["Rex Maniscalco collection"],"title_tesim":["Rex Maniscalco collection"],"ead_ssi":"bfd41a7c19618933042e1aeb","unitdate_ssm":["1980-2002","1990-2002"],"unitdate_bulk_ssim":["1990-2002"],"unitdate_inclusive_ssm":["1980-2002"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2009-02","/repositories/2/resources/324"],"text":["MS-2009-02","/repositories/2/resources/324","Rex Maniscalco collection, 1980-2002, bulk 1990-2002","LGBTQ+ film festivals","Gay and lesbian dance parties","LGBTQ+ movement","Gay community","Queer community ","Queer culture","LGBTQ+ activists","LGBTQ+ advocacy","LGBTQ+ communities","Series by format and subseries by subject (events, social life and customs, organizations). This collection is organized into three series with subsequent and corresponding subseries. Contained within this collection were film negatives not accompanied by developed images. These negatives remain unprocessed. Negatives that were included in envelopes alongside developed images were processed in tandem with photographs and housed in two Hollinger boxes as a series. Within  Series: Negatives , folders correspond with the images processed into subseries within photo boxes, more specifically, events, social life and customs, organizations. Additionally, Rex's personal photographs, which include travel, family, and other miscellaneous events such as the Renaissance Festival, the filming of a Burt Reynolds movie in Tampa, and Yankee training, remain unprocessed but available in photo albums.","Most remembered for saying, \"Ah one-a, ah two-a, ah-Cheeze-a\", Rex Maniscalco was Tampa's GLBT photographer and community documentarian. An Ybor City native, Rex Maniscalco was around to experience and participate in the emergence of a visible LGBT community in the Tampa area. From the early Pride picnics and festivals to the beginnings of Equality Florida, Rex was there, camera in hand, to document the people who have been instrumental in creating LGBT community and culture. Inspired by a traveling exhibition of the history of the LGBT movement, Rex undertook the task of capturing gay history in the making through his camera and video recordings. Moved by the stories of hidden lives told by Bobbie Smith and Kay Thompson, he began the Rainbow in Sunshine Project in January of 2007 to offer a photographic history of gay lives and activism in Tampa, Florida. He was a part of the GLBT \u0026 Hillsborough Democratic Executive Community and active in the Hillsborough County GLBTA Democratic caucus. Rex Maniscalco passed away April 4, 2009 at the age of 57","Note written by CW, 2015.","Partially processed.","Bobby Smith Photograph Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, Florida.","This collection contains photographs, negatives, and VHS recordings pertaining to Tampa GLBT culture and community and reflects the growing national visibility of gay and lesbian lives throughout the 1990s and early 2000s more generally. This collection is comprised of photographs of the LGBT community taken by Rex Maniscalco from the 1980s to 2000s. Captured in the images within this collection are Tampa Bay's early Pride picnics to full scale Pride Festivals in downtown Tampa and Ybor City, the Tampa Gay and Lesbian Film Festival, the Tampa AIDS walk, other major gay events such as Southern Decadence in New Orleans, LA and Beach Fest in Daytona, protests and rallies, and many other social gatherings and political events. This collection also contains video recordings of major political events and organizations in Tampa including County Commission and City Council vote to include sexual orientation in the city's human rights ordinance in 1991, the 1993 March on Washington, organizational meetings of the Human Rights Task Force. Maniscalco's collection also includes video recordings of local and national talk shows and television shows.","Oversized graphic materials stored in a horizontal folder separate from the collection.","No restrictions.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.","This collection is comprised of photographs and video footage of the LGBTQ+ community taken by Rex Maniscalco from the 1980s to 2000s, as well as documents from Tampa Bay LGBTQ+ culture, civil rights, and community organizations.","USF Libraries - Tampa Special Collections","Human Rights Task Force","Equality Florida","Metropolitan Community Church of Tampa","Maniscalco, Rex (1956-2009)","English"],"unitid_tesim":["MS-2009-02","/repositories/2/resources/324"],"normalized_date_ssm":["1980-2002, bulk 1990-2002"],"normalized_title_ssm":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002"],"collection_title_tesim":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002"],"collection_ssim":["Rex Maniscalco collection, 1980-2002, bulk 1990-2002"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Maniscalco, Rex (1956-2009)"],"creator_ssim":["Maniscalco, Rex (1956-2009)"],"creator_persname_ssim":["Maniscalco, Rex (1956-2009)"],"creators_ssim":["Maniscalco, Rex (1956-2009)"],"access_terms_ssm":["No restrictions.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"acqinfo_ssim":["Mark Bias and Carrie West","Donation."],"access_subjects_ssim":["LGBTQ+ film festivals","Gay and lesbian dance parties","LGBTQ+ movement","Gay community","Queer community ","Queer culture","LGBTQ+ activists","LGBTQ+ advocacy","LGBTQ+ communities"],"access_subjects_ssm":["LGBTQ+ film festivals","Gay and lesbian dance parties","LGBTQ+ movement","Gay community","Queer community ","Queer culture","LGBTQ+ activists","LGBTQ+ advocacy","LGBTQ+ communities"],"has_online_content_ssim":["false"],"extent_ssm":["21 boxes","14.43 Linear Feet","1 folders Oversized graphic materials stored in a horizontal folder separate from the collection."],"extent_tesim":["21 boxes","14.43 Linear Feet","1 folders Oversized graphic materials stored in a horizontal folder separate from the collection."],"date_range_isim":[1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002],"arrangement_html_tesm":["\u003cp\u003eSeries by format and subseries by subject (events, social life and customs, organizations). This collection is organized into three series with subsequent and corresponding subseries. Contained within this collection were film negatives not accompanied by developed images. These negatives remain unprocessed. Negatives that were included in envelopes alongside developed images were processed in tandem with photographs and housed in two Hollinger boxes as a series. Within \u003cemph render=\"italic\"\u003eSeries: Negatives\u003c/emph\u003e, folders correspond with the images processed into subseries within photo boxes, more specifically, events, social life and customs, organizations. Additionally, Rex's personal photographs, which include travel, family, and other miscellaneous events such as the Renaissance Festival, the filming of a Burt Reynolds movie in Tampa, and Yankee training, remain unprocessed but available in photo albums.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Series by format and subseries by subject (events, social life and customs, organizations). This collection is organized into three series with subsequent and corresponding subseries. Contained within this collection were film negatives not accompanied by developed images. These negatives remain unprocessed. Negatives that were included in envelopes alongside developed images were processed in tandem with photographs and housed in two Hollinger boxes as a series. Within  Series: Negatives , folders correspond with the images processed into subseries within photo boxes, more specifically, events, social life and customs, organizations. Additionally, Rex's personal photographs, which include travel, family, and other miscellaneous events such as the Renaissance Festival, the filming of a Burt Reynolds movie in Tampa, and Yankee training, remain unprocessed but available in photo albums."],"bioghist_html_tesm":["\u003cp\u003eMost remembered for saying, \"Ah one-a, ah two-a, ah-Cheeze-a\", Rex Maniscalco was Tampa's GLBT photographer and community documentarian. An Ybor City native, Rex Maniscalco was around to experience and participate in the emergence of a visible LGBT community in the Tampa area. From the early Pride picnics and festivals to the beginnings of Equality Florida, Rex was there, camera in hand, to document the people who have been instrumental in creating LGBT community and culture. Inspired by a traveling exhibition of the history of the LGBT movement, Rex undertook the task of capturing gay history in the making through his camera and video recordings. Moved by the stories of hidden lives told by Bobbie Smith and Kay Thompson, he began the Rainbow in Sunshine Project in January of 2007 to offer a photographic history of gay lives and activism in Tampa, Florida. He was a part of the GLBT \u0026amp; Hillsborough Democratic Executive Community and active in the Hillsborough County GLBTA Democratic caucus. Rex Maniscalco passed away April 4, 2009 at the age of 57\u003c/p\u003e\n","\u003cp\u003eNote written by CW, 2015.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Most remembered for saying, \"Ah one-a, ah two-a, ah-Cheeze-a\", Rex Maniscalco was Tampa's GLBT photographer and community documentarian. An Ybor City native, Rex Maniscalco was around to experience and participate in the emergence of a visible LGBT community in the Tampa area. From the early Pride picnics and festivals to the beginnings of Equality Florida, Rex was there, camera in hand, to document the people who have been instrumental in creating LGBT community and culture. Inspired by a traveling exhibition of the history of the LGBT movement, Rex undertook the task of capturing gay history in the making through his camera and video recordings. Moved by the stories of hidden lives told by Bobbie Smith and Kay Thompson, he began the Rainbow in Sunshine Project in January of 2007 to offer a photographic history of gay lives and activism in Tampa, Florida. He was a part of the GLBT \u0026 Hillsborough Democratic Executive Community and active in the Hillsborough County GLBTA Democratic caucus. Rex Maniscalco passed away April 4, 2009 at the age of 57","Note written by CW, 2015."],"processinfo_html_tesm":["\u003cp\u003ePartially processed.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Partially processed."],"relatedmaterial_html_tesm":["\u003cp\u003eBobby Smith Photograph Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, Florida.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Bobby Smith Photograph Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains photographs, negatives, and VHS recordings pertaining to Tampa GLBT culture and community and reflects the growing national visibility of gay and lesbian lives throughout the 1990s and early 2000s more generally. This collection is comprised of photographs of the LGBT community taken by Rex Maniscalco from the 1980s to 2000s. Captured in the images within this collection are Tampa Bay's early Pride picnics to full scale Pride Festivals in downtown Tampa and Ybor City, the Tampa Gay and Lesbian Film Festival, the Tampa AIDS walk, other major gay events such as Southern Decadence in New Orleans, LA and Beach Fest in Daytona, protests and rallies, and many other social gatherings and political events. This collection also contains video recordings of major political events and organizations in Tampa including County Commission and City Council vote to include sexual orientation in the city's human rights ordinance in 1991, the 1993 March on Washington, organizational meetings of the Human Rights Task Force. Maniscalco's collection also includes video recordings of local and national talk shows and television shows.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains photographs, negatives, and VHS recordings pertaining to Tampa GLBT culture and community and reflects the growing national visibility of gay and lesbian lives throughout the 1990s and early 2000s more generally. This collection is comprised of photographs of the LGBT community taken by Rex Maniscalco from the 1980s to 2000s. Captured in the images within this collection are Tampa Bay's early Pride picnics to full scale Pride Festivals in downtown Tampa and Ybor City, the Tampa Gay and Lesbian Film Festival, the Tampa AIDS walk, other major gay events such as Southern Decadence in New Orleans, LA and Beach Fest in Daytona, protests and rallies, and many other social gatherings and political events. This collection also contains video recordings of major political events and organizations in Tampa including County Commission and City Council vote to include sexual orientation in the city's human rights ordinance in 1991, the 1993 March on Washington, organizational meetings of the Human Rights Task Force. Maniscalco's collection also includes video recordings of local and national talk shows and television shows."],"separatedmaterial_html_tesm":["\u003cp\u003eOversized graphic materials stored in a horizontal folder separate from the collection.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Oversized graphic materials stored in a horizontal folder separate from the collection."],"userestrict_html_tesm":["\u003cp\u003eNo restrictions.\u0026#xA0; The contents of this collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No restrictions.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_2725e9e7269d2febf9372c22418f4cc3\"\u003eThis collection is comprised of photographs and video footage of the LGBTQ+ community taken by Rex Maniscalco from the 1980s to 2000s, as well as documents from Tampa Bay LGBTQ+ culture, civil rights, and community organizations.\u003c/abstract\u003e"],"abstract_tesim":["This collection is comprised of photographs and video footage of the LGBTQ+ community taken by Rex Maniscalco from the 1980s to 2000s, as well as documents from Tampa Bay LGBTQ+ culture, civil rights, and community organizations."],"names_coll_ssim":["Human Rights Task Force","Equality Florida","Metropolitan Community Church of Tampa"],"names_ssim":["USF Libraries - 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