{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?page=2269\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?page=2268\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?page=2270\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?page=65767\u0026view=compact"},"meta":{"pages":{"current_page":2269,"next_page":2270,"prev_page":2268,"total_pages":65767,"limit_value":10,"offset_value":22680,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"085cdf111f574f3d1d8dd845_aspace_157550","type":"Item","attributes":{"title":"A Critique of State Socialism by Michael Bakunin: Why authoritarian communism leaves us cold, 1981, 2009","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/085cdf111f574f3d1d8dd845_aspace_157550#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eOriginally produced by anarchists in Belfast in 1981, this comic juxtaposes Bakunin's critique of statist revolutionary movements with the events that subsequently confirmed it.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/085cdf111f574f3d1d8dd845_aspace_157550#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_157550","ref_ssm":["aspace_157550","aspace_157550"],"id":"085cdf111f574f3d1d8dd845_aspace_157550","title_filing_ssi":"A Critique of State Socialism by Michael Bakunin: Why authoritarian communism leaves us cold","title_ssm":["A Critique of State Socialism by Michael Bakunin: Why authoritarian communism leaves us cold"],"title_tesim":["A Critique of State Socialism by Michael Bakunin: Why authoritarian communism leaves us cold"],"unitdate_other_ssim":["1981, 2009"],"normalized_date_ssm":["1981, 2009"],"normalized_title_ssm":["A Critique of State Socialism by Michael Bakunin: Why authoritarian communism leaves us cold, 1981, 2009"],"text":["A Critique of State Socialism by Michael Bakunin: Why authoritarian communism leaves us cold, 1981, 2009","Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017","Political Zines","Item 10","/repositories/2/archival_objects/8866","Originally produced by anarchists in Belfast in 1981, this comic juxtaposes Bakunin's critique of statist revolutionary movements with the events that subsequently confirmed it.","[Richard Warren, auth.; CrimethInc. Anarchivists, pub.]","Chapel Hill, NC"],"component_level_isim":[2],"parent_ids_ssim":["085cdf111f574f3d1d8dd845","085cdf111f574f3d1d8dd845_aspace_157546"],"parent_unittitles_ssm":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017","Political Zines"],"parent_unittitles_tesim":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017","Political Zines"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Item 10","/repositories/2/archival_objects/8866"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":479,"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\u003eOriginally produced by anarchists in Belfast in 1981, this comic juxtaposes Bakunin's critique of statist revolutionary movements with the events that subsequently confirmed it.\u003c/p\u003e","\u003cp\u003e[Richard Warren, auth.; CrimethInc. Anarchivists, pub.]\u003c/p\u003e","\u003cp\u003eChapel Hill, NC\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Originally produced by anarchists in Belfast in 1981, this comic juxtaposes Bakunin's critique of statist revolutionary movements with the events that subsequently confirmed it.","[Richard Warren, auth.; CrimethInc. Anarchivists, pub.]","Chapel Hill, NC"],"_nest_path_":"/components#14/components#9","_nest_parent_":"085cdf111f574f3d1d8dd845_aspace_157546","_root_":"085cdf111f574f3d1d8dd845","timestamp":"2026-05-28T03:16:33.791Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"085cdf111f574f3d1d8dd845","title_ssm":["Tampa Zine Fest Public Library"],"title_tesim":["Tampa Zine Fest Public Library"],"ead_ssi":"085cdf111f574f3d1d8dd845","unitdate_ssm":["1980-2016","Date acquired: 00/00/2017"],"unitdate_inclusive_ssm":["1980-2016"],"unitdate_other_ssim":["Date acquired: 00/00/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2017-08","/repositories/2/resources/47"],"text":["MS-2017-08","/repositories/2/resources/47","Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017","Punk rock music","Self-publishing","Personal Narratives","Social justice","Anarchism","Women's rights","Mental health","Poetry","Communism","Subculture","Feminism","Marxism","Photography","Riot grrrl movement","Creative nonfiction","Gay culture","lesbian culture","Socialism","Zines","LGBTQ+ zines","Accrual integrated 2026-02; CC","The zines within this collection have been arranged into categories by subject and format. 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Within these categories, frequent topics of discussion are feminism, mental health, gender, sexuality, identity, body image, leftist politics (i.e. communism, socialism, Marxism, etc.), anarchism, activism, race, community organizing, punk culture, and subculture.","This finding aid indicates if we hold multiple copies of the same zine within the collection. Overall, there are 538 distinct zines.","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.","Zine is a shortened version of magazine or fanzine, with a focus on self-publishing and Do It Youself (D.I.Y.) aesthetics. Zines are anti-copyright and are not for profit.\n\tSpecial Collections at the University of South Florida is now functioning as a repository for the Tampa Zine Library, which was established in conjunction with the Tampa Zine Fest in 2012. This particular collection reflects a mixture of donations, personal acquisitions, and zines that were featured at Tampa Zine Fest.","USF Libraries - Tampa Special Collections","Bloom, Philip","English"],"unitid_tesim":["MS-2017-08","/repositories/2/resources/47"],"normalized_date_ssm":["1980-2016, Date acquired: 00/00/2017"],"normalized_title_ssm":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017"],"collection_title_tesim":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017"],"collection_ssim":["Tampa Zine Fest Public Library, 1980-2016, Date acquired: 00/00/2017"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Bloom, Philip"],"creator_ssim":["Bloom, Philip"],"creator_persname_ssim":["Bloom, Philip"],"creators_ssim":["Bloom, Philip"],"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":["Philip Bloom","Donation."],"access_subjects_ssim":["Punk rock music","Self-publishing","Personal Narratives","Social justice","Anarchism","Women's rights","Mental health","Poetry","Communism","Subculture","Feminism","Marxism","Photography","Riot grrrl movement","Creative nonfiction","Gay culture","lesbian culture","Socialism","Zines","LGBTQ+ zines"],"access_subjects_ssm":["Punk rock music","Self-publishing","Personal Narratives","Social justice","Anarchism","Women's rights","Mental health","Poetry","Communism","Subculture","Feminism","Marxism","Photography","Riot grrrl movement","Creative nonfiction","Gay culture","lesbian culture","Socialism","Zines","LGBTQ+ zines"],"has_online_content_ssim":["false"],"extent_ssm":["6.00 Linear Feet","18 boxes"],"extent_tesim":["6.00 Linear Feet","18 boxes"],"genreform_ssim":["Zines","LGBTQ+ zines"],"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],"accruals_html_tesm":["\u003cp\u003eAccrual integrated 2026-02; CC\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Accrual integrated 2026-02; CC"],"arrangement_html_tesm":["\u003cp\u003eThe zines within this collection have been arranged into categories by subject and format. Within each category, zines are arranged in alphabetical order. Overlap of subject and themes are present within the collection, and a basic description of content is provided for each zine.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The zines within this collection have been arranged into categories by subject and format. Within each category, zines are arranged in alphabetical order. Overlap of subject and themes are present within the collection, and a basic description of content is provided for each zine."],"prefercite_html_tesm":["\u003cp\u003eTampa Zine Fest Public Library, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Tampa Zine Fest Public Library, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eProcessed\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed"],"scopecontent_html_tesm":["\u003cp\u003eThe majority of zines within this collection are based out of the United States, though several come from Canada, Europe, Asia, and Oceania. Publication locations are provided at the item level, when information is available. Major collection areas include: perzines (personal zines), art and photography zines, literary zines, poetry zines, political zines, community and activism zines, women's experience zines, music zines, travel zines, DIY zines, comix zines, and LGBTQIA zines. Within these categories, frequent topics of discussion are feminism, mental health, gender, sexuality, identity, body image, leftist politics (i.e. communism, socialism, Marxism, etc.), anarchism, activism, race, community organizing, punk culture, and subculture.\u003c/p\u003e\n","\u003cp\u003eThis finding aid indicates if we hold multiple copies of the same zine within the collection. Overall, there are 538 distinct zines.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The majority of zines within this collection are based out of the United States, though several come from Canada, Europe, Asia, and Oceania. Publication locations are provided at the item level, when information is available. Major collection areas include: perzines (personal zines), art and photography zines, literary zines, poetry zines, political zines, community and activism zines, women's experience zines, music zines, travel zines, DIY zines, comix zines, and LGBTQIA zines. Within these categories, frequent topics of discussion are feminism, mental health, gender, sexuality, identity, body image, leftist politics (i.e. communism, socialism, Marxism, etc.), anarchism, activism, race, community organizing, punk culture, and subculture.","This finding aid indicates if we hold multiple copies of the same zine within the collection. Overall, there are 538 distinct zines."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_330acc9f5dfb8f75036aa56087852cfe\" label=\"Abstract\"\u003eZine is a shortened version of magazine or fanzine, with a focus on self-publishing and Do It Youself (D.I.Y.) aesthetics. Zines are anti-copyright and are not for profit.\n\tSpecial Collections at the University of South Florida is now functioning as a repository for the Tampa Zine Library, which was established in conjunction with the Tampa Zine Fest in 2012. This particular collection reflects a mixture of donations, personal acquisitions, and zines that were featured at Tampa Zine Fest.\u003c/abstract\u003e"],"abstract_tesim":["Zine is a shortened version of magazine or fanzine, with a focus on self-publishing and Do It Youself (D.I.Y.) aesthetics. Zines are anti-copyright and are not for profit.\n\tSpecial Collections at the University of South Florida is now functioning as a repository for the Tampa Zine Library, which was established in conjunction with the Tampa Zine Fest in 2012. This particular collection reflects a mixture of donations, personal acquisitions, and zines that were featured at Tampa Zine Fest."],"names_ssim":["USF Libraries - Tampa Special Collections","Bloom, Philip"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Bloom, Philip"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":739,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"085cdf111f574f3d1d8dd845","timestamp":"2026-05-28T03:16:33.791Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/085cdf111f574f3d1d8dd845_aspace_157550"}},{"id":"db072f61ae71eb6bd3cab32c_aspace_c38aeb9f20bcd6d7860da53681cf4863","type":"File","attributes":{"title":"ACRL","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/db072f61ae71eb6bd3cab32c_aspace_c38aeb9f20bcd6d7860da53681cf4863#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_c38aeb9f20bcd6d7860da53681cf4863","ref_ssm":["aspace_c38aeb9f20bcd6d7860da53681cf4863","aspace_c38aeb9f20bcd6d7860da53681cf4863"],"id":"db072f61ae71eb6bd3cab32c_aspace_c38aeb9f20bcd6d7860da53681cf4863","title_filing_ssi":"ACRL","title_ssm":["ACRL"],"title_tesim":["ACRL"],"normalized_title_ssm":["ACRL"],"text":["ACRL","Library Admin Records, Undated","/repositories/10/archival_objects/245867","box 18"],"component_level_isim":[1],"parent_ids_ssim":["db072f61ae71eb6bd3cab32c"],"parent_unittitles_ssm":["Library Admin Records, Undated"],"parent_unittitles_tesim":["Library Admin Records, Undated"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/10/archival_objects/245867"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Library Admin Records, Undated"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":700,"parent_access_restrict_tesm":["This collection is open to all researchers. Boxes 7, 8, 13, 14, 17, \u0026 18 can be accessed at the Claude Pepper Library. Boxes 1-6, 9-12, 15, 16, \u0026 19 are 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."],"containers_ssim":["box 18"],"_nest_path_":"/components#435","_nest_parent_":"db072f61ae71eb6bd3cab32c","_root_":"db072f61ae71eb6bd3cab32c","_version_":1870858047629295616,"timestamp":"2026-07-16T08:07:49.581Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"db072f61ae71eb6bd3cab32c","title_ssm":["Library Admin Records"],"title_tesim":["Library Admin Records"],"ead_ssi":"db072f61ae71eb6bd3cab32c","unitdate_ssm":["Undated"],"unitdate_inclusive_ssm":["Undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["HUA 2018-042","/repositories/10/resources/2129"],"text":["HUA 2018-042","/repositories/10/resources/2129","Library Admin Records, Undated","This collection is open to all researchers. Boxes 7, 8, 13, 14, 17, \u0026 18 can be accessed at the Claude Pepper Library. Boxes 1-6, 9-12, 15, 16, \u0026 19 are in an offsite storage location. 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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":["Library Administration/ Liz Rodriguez"],"has_online_content_ssim":["false"],"extent_ssm":["22 Linear Feet"],"extent_tesim":["22 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. Boxes 7, 8, 13, 14, 17, \u0026amp; 18 can be accessed at the Claude Pepper Library. Boxes 1-6, 9-12, 15, 16, \u0026amp; 19 are 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. Boxes 7, 8, 13, 14, 17, \u0026 18 can be accessed at the Claude Pepper Library. Boxes 1-6, 9-12, 15, 16, \u0026 19 are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"custodhist_html_tesm":["\u003cp\u003eDate recevied: 2018/08/15\nDate accessioned: 2018\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Date recevied: 2018/08/15\nDate accessioned: 2018"],"prefercite_html_tesm":["\u003cp\u003eLibrary Admin Records, HUA 2018-042, Special Collections \u0026amp; Archives, Florida State University, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/HUA-2018-042\u003c/p\u003e"],"prefercite_tesim":["Library Admin Records, HUA 2018-042, Special Collections \u0026 Archives, Florida State University, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/HUA-2018-042"],"relatedmaterial_html_tesm":["\u003cp\u003eHUA 2018-095\nHUA 2019-044\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["HUA 2018-095\nHUA 2019-044"],"scopecontent_html_tesm":["\u003cp\u003eSee Library Records docx\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["See Library Records docx"],"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"],"total_component_count_is":803,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870858047629295616,"_root_":"db072f61ae71eb6bd3cab32c","timestamp":"2026-07-16T08:07:49.581Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/db072f61ae71eb6bd3cab32c_aspace_c38aeb9f20bcd6d7860da53681cf4863"}},{"id":"db072f61ae71eb6bd3cab32c_aspace_15f546e146b98015c561ab7913ef37a1","type":"File","attributes":{"title":"ACRL, 2002","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/db072f61ae71eb6bd3cab32c_aspace_15f546e146b98015c561ab7913ef37a1#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_15f546e146b98015c561ab7913ef37a1","ref_ssm":["aspace_15f546e146b98015c561ab7913ef37a1","aspace_15f546e146b98015c561ab7913ef37a1"],"id":"db072f61ae71eb6bd3cab32c_aspace_15f546e146b98015c561ab7913ef37a1","title_filing_ssi":"ACRL","title_ssm":["ACRL"],"title_tesim":["ACRL"],"unitdate_other_ssim":["2002"],"normalized_date_ssm":["2002"],"normalized_title_ssm":["ACRL, 2002"],"text":["ACRL, 2002","Library Admin Records, Undated","/repositories/10/archival_objects/245858","box 18"],"component_level_isim":[1],"parent_ids_ssim":["db072f61ae71eb6bd3cab32c"],"parent_unittitles_ssm":["Library Admin Records, Undated"],"parent_unittitles_tesim":["Library Admin Records, Undated"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/10/archival_objects/245858"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Library Admin Records, Undated"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":691,"parent_access_restrict_tesm":["This collection is open to all researchers. Boxes 7, 8, 13, 14, 17, \u0026 18 can be accessed at the Claude Pepper Library. Boxes 1-6, 9-12, 15, 16, \u0026 19 are 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. 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Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Date recevied: 2018/08/15\nDate accessioned: 2018","HUA 2018-095\nHUA 2019-044","See Library Records docx","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 2018-042","/repositories/10/resources/2129"],"normalized_date_ssm":["Undated"],"normalized_title_ssm":["Library Admin Records, Undated"],"collection_title_tesim":["Library Admin Records, Undated"],"collection_ssim":["Library Admin Records, Undated"],"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":["Library Administration/ Liz Rodriguez"],"has_online_content_ssim":["false"],"extent_ssm":["22 Linear Feet"],"extent_tesim":["22 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. Boxes 7, 8, 13, 14, 17, \u0026amp; 18 can be accessed at the Claude Pepper Library. Boxes 1-6, 9-12, 15, 16, \u0026amp; 19 are 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. Boxes 7, 8, 13, 14, 17, \u0026 18 can be accessed at the Claude Pepper Library. Boxes 1-6, 9-12, 15, 16, \u0026 19 are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"custodhist_html_tesm":["\u003cp\u003eDate recevied: 2018/08/15\nDate accessioned: 2018\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Date recevied: 2018/08/15\nDate accessioned: 2018"],"prefercite_html_tesm":["\u003cp\u003eLibrary Admin Records, HUA 2018-042, Special Collections \u0026amp; Archives, Florida State University, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/HUA-2018-042\u003c/p\u003e"],"prefercite_tesim":["Library Admin Records, HUA 2018-042, Special Collections \u0026 Archives, Florida State University, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/HUA-2018-042"],"relatedmaterial_html_tesm":["\u003cp\u003eHUA 2018-095\nHUA 2019-044\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["HUA 2018-095\nHUA 2019-044"],"scopecontent_html_tesm":["\u003cp\u003eSee Library Records docx\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["See Library Records docx"],"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"],"total_component_count_is":803,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870858047629295616,"_root_":"db072f61ae71eb6bd3cab32c","timestamp":"2026-07-16T08:07:49.581Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/db072f61ae71eb6bd3cab32c_aspace_15f546e146b98015c561ab7913ef37a1"}},{"id":"22557056952ccd425aa98a4a_aspace_a26db384335049827b64525aed3d00a5","type":"Folder","attributes":{"title":"ACRL Excellence in Academic Libraries Award, 2018-2019","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/22557056952ccd425aa98a4a_aspace_a26db384335049827b64525aed3d00a5#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_a26db384335049827b64525aed3d00a5","ref_ssm":["aspace_a26db384335049827b64525aed3d00a5","aspace_a26db384335049827b64525aed3d00a5"],"id":"22557056952ccd425aa98a4a_aspace_a26db384335049827b64525aed3d00a5","title_filing_ssi":"ACRL Excellence in Academic Libraries Award","title_ssm":["ACRL Excellence in Academic Libraries Award"],"title_tesim":["ACRL Excellence in Academic Libraries Award"],"unitdate_other_ssim":["2018-2019"],"normalized_date_ssm":["2018-2019"],"normalized_title_ssm":["ACRL Excellence in Academic Libraries Award, 2018-2019"],"text":["ACRL Excellence in Academic Libraries Award, 2018-2019","University of Central Florida Library collection, 1953-2024, bulk 1966-1996","Series II: Boards \u0026 Committees, 1972-2019.","External., 1983-2019","Association of College and Research Libraries (ACRL)., 1989,1990, 2006, 2018-2019","/repositories/2/archival_objects/58806","Box 168"],"component_level_isim":[4],"parent_ids_ssim":["22557056952ccd425aa98a4a","22557056952ccd425aa98a4a_aspace_seriesII","22557056952ccd425aa98a4a_aspace_a016dfb2fdea02807158ab42945be4d4","22557056952ccd425aa98a4a_aspace_1b183c5efaa6c5101021c3e0c658acb9"],"parent_unittitles_ssm":["University of Central Florida Library collection, 1953-2024, bulk 1966-1996","Series II: Boards \u0026 Committees, 1972-2019.","External., 1983-2019","Association of College and Research Libraries (ACRL)., 1989,1990, 2006, 2018-2019"],"parent_unittitles_tesim":["University of Central Florida Library collection, 1953-2024, bulk 1966-1996","Series II: Boards \u0026 Committees, 1972-2019.","External., 1983-2019","Association of College and Research Libraries (ACRL)., 1989,1990, 2006, 2018-2019"],"parent_levels_ssm":["collection","Series","Subseries","Subseries"],"unitid_ssm":["/repositories/2/archival_objects/58806"],"repository_ssim":["UCF University Archives"],"collection_ssim":["University of Central Florida Library collection, 1953-2024, bulk 1966-1996"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Folder"],"level_ssim":["Folder"],"sort_isi":2845,"parent_access_restrict_tesm":["The entire collection is open for research except for the following: Box 206, Flat Files 2-7, and Objects 1-3. Access to UCF Facilities drawings, documents, and sensitive data is available to authorized university staff and approved consultants only, per university policy, and under lawful exception to Florida's Public Records Law. For more information, please contact staff in Special Collections \u0026 University Archives."],"parent_access_terms_tesm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"containers_ssim":["Box 168"],"_nest_path_":"/components#1/components#1/components#5/components#2","_nest_parent_":"22557056952ccd425aa98a4a_aspace_1b183c5efaa6c5101021c3e0c658acb9","_root_":"22557056952ccd425aa98a4a","_version_":1879284116823736320,"timestamp":"2026-10-17T08:16:35.403Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"22557056952ccd425aa98a4a","title_ssm":["University of Central Florida Library collection"],"title_tesim":["University of Central Florida Library collection"],"ead_ssi":"22557056952ccd425aa98a4a","unitdate_ssm":["1953-2024","1966-1996"],"unitdate_bulk_ssim":["1966-1996"],"unitdate_inclusive_ssm":["1953-2024"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA13A","/repositories/2/resources/236"],"text":["UA13A","/repositories/2/resources/236","University of Central Florida Library collection, 1953-2024, bulk 1966-1996","Universities and colleges -- Florida","Art students -- Florida -- Orlando","Library exhibits -- Florida -- Orlando","Librarians -- Promotions -- Florida -- Orlando","compact discs","DVDs","newspaper clippings","photographs","VHS","The entire collection is open for research except for the following: Box 206, Flat Files 2-7, and Objects 1-3. Access to UCF Facilities drawings, documents, and sensitive data is available to authorized university staff and approved consultants only, per university policy, and under lawful exception to Florida's Public Records Law. For more information, please contact staff in Special Collections \u0026 University Archives.","Previous Collection Identifier: CFU1989_02b","Additions: CFU19XX_03, CFU19XX_04, CFU19XX_05, CFU1997_01, CFU2004_04, CFU2006_01, CFU2010_07, CFU2011_22, CFU2012_29, CFU2012_30, CFU2013_14, CFU2013_I, CFU2014_01, CFU2014_B, CFU2016_04, CFU2018_33","This collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically.","In 1968 when University of Central Florida (then Florida Technological University) began, the library was the only building constructed completely and many classes and administrative offices were housed there. Clubs and athletics teams such as wrestling (CFF Vol 3 No 23) would meet in the library. According to the Annual Report of 1968-1969, the library's collection consisted of about 50,000 books and periodicals, plus 6,000 items of government documents. These items were packed within a warehouse waiting to be moved into the Library once construction as finished. A small percentage of the books were already processed. The decision was made to prepare the rest with whatever help was available at the time. So, students and all library staff created an assembly line to speed up the process. This process took an approximate ten weeks to complete. "," The first Library Director Lynn Walker was director from 1966-1982. Anne Marie Allison took the role as Library Director from 1983-1996. Barry Baker was the director from 1997-2019. In 2021, the Library Director position was elevated to a Dean of Libraries position. Beau Case was the inaugural Dean of Libraries."," In the late 1970s, the university applied for funding to help expand the building. In 1984, UCF saw its largest library renovation as of yet; doubling the building in size. In 2012, the main library was named after then university president John C. Hitt while celebrating his 20th anniversary serving at UCF. In 2020, the Automated Retrieval Center (ARC) finished partial construction as a part of several phases to better acclimate the growing student population. Even with the quick growth of the campus, the university library has remained a hub for cultural and intellectual activity, offering students and faculty an open forum for discussion and reflection.","Processing History  The original UCF Library Exhibits Records collection was processed by and finding aid prepared by April Karlene Anderson in 2005. Rusted paper clips were removed and replaced with plastic clips. News clippings were photocopied onto acid-free paper. All materials were rehoused in acid-free folders and boxes. Duplicates were removed and social security numbers were obliterated. Post-it notes were moved to the edge of the documents to prevent destruction of information. To facilitate research, files in the alphabetical files that belonged more appropriately in other series were moved. The acquisition method field and the subjects were updated by Kryslynn Collazo in 2018. The original University of Central Florida Libraries Promotion Coordinating Committee Records were processed by and finding aid prepared by Mary Rubin in 2012. Materials were re-foldered in archival materials. The original University of Central Florida Libraries Faculty Affairs Committee Documents were processed by and finding aid prepared by Mary Rubin in 2013.Renata Nagy began began combining these collections in 2017. The collection was finished by Elisabeth \"Eli\" Jimenez in 2022.Additional materials processed in 2024 by Arielle Petrovich.","For more information on university archives, please see our website. There is mention of a book sale at the library that was held on February 11, 1992 at the lobby. This event is referenced in the Central Florida Future Vol. 24 No. 41 and also in the UCF Report of February 5, 1992. Library Faculty Meeting Minutes from 1978 to 1994 are bound and is listed speartely from this collection. The call number is LD 1772 .F 934.","This collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically.\n\n","Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.","The Library collection documents the history of the John C. Hitt library. There are several subseries pertaining to different leaders, committees, and departments found within the library. This collection contains photographs, negatives, CDs, VHSs, and documents.","UCF University Archives","University of Central Florida. Office of Public Affairs","Florida Technological University","University of Central Florida","University of Central Florida. Library","University of Central Florida. Library -- Exhibitions","University of Central Florida. Library Promotion Coordinating Committee","Florida Technological University. Library -- Exhibitions","Florida Technological University. Library","Walker, Lynn","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry","English"],"unitid_tesim":["UA13A","/repositories/2/resources/236"],"normalized_date_ssm":["1953-2024, bulk 1966-1996"],"normalized_title_ssm":["University of Central Florida Library collection, 1953-2024, bulk 1966-1996"],"collection_title_tesim":["University of Central Florida Library collection, 1953-2024, bulk 1966-1996"],"collection_ssim":["University of Central Florida Library collection, 1953-2024, bulk 1966-1996"],"repository_ssm":["UCF University Archives"],"repository_ssim":["UCF University Archives"],"creator_ssm":["Walker, Lynn","University of Central Florida. Office of Public Affairs","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry"],"creator_ssim":["Walker, Lynn","University of Central Florida. Office of Public Affairs","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry"],"creator_persname_ssim":["Walker, Lynn","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry"],"creator_corpname_ssim":["University of Central Florida. Office of Public Affairs"],"creators_ssim":["Walker, Lynn","Allison, Anne Marie","Mahan, Cheryl","Hinshaw, Carole","Kibbee, Raynette","Spyers-Duran, Peter, II","Bottorff, Tim ","Miletic-Vejzovic, Laila","Scharf, Meg","Baker, Barry","University of Central Florida. Office of Public Affairs"],"access_terms_ssm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["Lynn Walker transferred his records in 1983 (CFU1983_01). The Office of Public Affairs transferred Library Exhibit photographs to the University Archives in 1989 (CFU1989_02b). Anne Marie Allison transferred her records in 1997 (CFU1997_01). Blueprints (CFU19XX_03), photographs (CFU19XX_04), minutes (CFU19XX_05), and exhibit materials (CFU2012_13) were given to the archives. It is unknown who made those transfers. Cheryl Mahan transferred Library Exhibit materials in 2004 (CFU2004_04) and Carole Hinshaw transferred additional materials in 2010 (CFU2010_07). Raynette Kibbee transferred Library Staff Photographs in 2006 (CFU2006_01) and in 2013 (CFU2013_14) as well as administrative papers in 2011 (CFU2011_22). Peter Spyers-Duran II transferred Promotion Coordinating Committee materials in 2012 (CFU2012_30). Tim Bottorff transferred Library Faculty Affairs Committee materials in 2012 (CFU2012_29) and Laila Miletic-Vejzovic transferred additional materials in 2014 (CFU2014_01). Meg Scharf transferred digital photos in 2013 (CFU2013_I) and plaques in 2014 (CFU2014_B). Barry Baker transferred his records and records about the 21st Century Library Project in 2016 (CFU2016_04) and in 2018 (CFU2018_33). Additional materials were transferred in 2024 (CFU2024_03; CFU2024_21)."],"access_subjects_ssim":["Universities and colleges -- Florida","Art students -- Florida -- Orlando","Library exhibits -- Florida -- Orlando","Librarians -- Promotions -- Florida -- Orlando","compact discs","DVDs","newspaper clippings","photographs","VHS"],"access_subjects_ssm":["Universities and colleges -- Florida","Art students -- Florida -- Orlando","Library exhibits -- Florida -- Orlando","Librarians -- Promotions -- Florida -- Orlando","compact discs","DVDs","newspaper clippings","photographs","VHS"],"has_online_content_ssim":["false"],"extent_ssm":["104.5 Linear Feet 207 boxes, 3 objects"],"extent_tesim":["104.5 Linear Feet 207 boxes, 3 objects"],"genreform_ssim":["compact discs","DVDs","newspaper clippings","photographs","VHS"],"date_range_isim":[1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research except for the following: Box 206, Flat Files 2-7, and Objects 1-3. Access to UCF Facilities drawings, documents, and sensitive data is available to authorized university staff and approved consultants only, per university policy, and under lawful exception to Florida's Public Records Law. For more information, please contact staff in Special Collections \u0026amp; University Archives.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The entire collection is open for research except for the following: Box 206, Flat Files 2-7, and Objects 1-3. Access to UCF Facilities drawings, documents, and sensitive data is available to authorized university staff and approved consultants only, per university policy, and under lawful exception to Florida's Public Records Law. For more information, please contact staff in Special Collections \u0026 University Archives."],"accruals_html_tesm":["\u003cp\u003ePrevious Collection Identifier: CFU1989_02b\u003c/p\u003e\n","\u003cp\u003eAdditions: CFU19XX_03, CFU19XX_04, CFU19XX_05, CFU1997_01, CFU2004_04, CFU2006_01, CFU2010_07, CFU2011_22, CFU2012_29, CFU2012_30, CFU2013_14, CFU2013_I, CFU2014_01, CFU2014_B, CFU2016_04, CFU2018_33\u003c/p\u003e"],"accruals_heading_ssm":["Additions"],"accruals_tesim":["Previous Collection Identifier: CFU1989_02b","Additions: CFU19XX_03, CFU19XX_04, CFU19XX_05, CFU1997_01, CFU2004_04, CFU2006_01, CFU2010_07, CFU2011_22, CFU2012_29, CFU2012_30, CFU2013_14, CFU2013_I, CFU2014_01, CFU2014_B, CFU2016_04, CFU2018_33"],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically."],"bioghist_html_tesm":["\u003cp\u003eIn 1968 when University of Central Florida (then Florida Technological University) began, the library was the only building constructed completely and many classes and administrative offices were housed there. Clubs and athletics teams such as wrestling (CFF Vol 3 No 23) would meet in the library. According to the Annual Report of 1968-1969, the library's collection consisted of about 50,000 books and periodicals, plus 6,000 items of government documents. These items were packed within a warehouse waiting to be moved into the Library once construction as finished. A small percentage of the books were already processed. The decision was made to prepare the rest with whatever help was available at the time. So, students and all library staff created an assembly line to speed up the process. This process took an approximate ten weeks to complete. \u003c/p\u003e\n","\u003cp\u003e The first Library Director Lynn Walker was director from 1966-1982. Anne Marie Allison took the role as Library Director from 1983-1996. Barry Baker was the director from 1997-2019. In 2021, the Library Director position was elevated to a Dean of Libraries position. Beau Case was the inaugural Dean of Libraries.\u003c/p\u003e\n","\u003cp\u003e In the late 1970s, the university applied for funding to help expand the building. In 1984, UCF saw its largest library renovation as of yet; doubling the building in size. In 2012, the main library was named after then university president John C. Hitt while celebrating his 20th anniversary serving at UCF. In 2020, the Automated Retrieval Center (ARC) finished partial construction as a part of several phases to better acclimate the growing student population. Even with the quick growth of the campus, the university library has remained a hub for cultural and intellectual activity, offering students and faculty an open forum for discussion and reflection.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical Note"],"bioghist_tesim":["In 1968 when University of Central Florida (then Florida Technological University) began, the library was the only building constructed completely and many classes and administrative offices were housed there. Clubs and athletics teams such as wrestling (CFF Vol 3 No 23) would meet in the library. According to the Annual Report of 1968-1969, the library's collection consisted of about 50,000 books and periodicals, plus 6,000 items of government documents. These items were packed within a warehouse waiting to be moved into the Library once construction as finished. A small percentage of the books were already processed. The decision was made to prepare the rest with whatever help was available at the time. So, students and all library staff created an assembly line to speed up the process. This process took an approximate ten weeks to complete. "," The first Library Director Lynn Walker was director from 1966-1982. Anne Marie Allison took the role as Library Director from 1983-1996. Barry Baker was the director from 1997-2019. In 2021, the Library Director position was elevated to a Dean of Libraries position. Beau Case was the inaugural Dean of Libraries."," In the late 1970s, the university applied for funding to help expand the building. In 1984, UCF saw its largest library renovation as of yet; doubling the building in size. In 2012, the main library was named after then university president John C. Hitt while celebrating his 20th anniversary serving at UCF. In 2020, the Automated Retrieval Center (ARC) finished partial construction as a part of several phases to better acclimate the growing student population. Even with the quick growth of the campus, the university library has remained a hub for cultural and intellectual activity, offering students and faculty an open forum for discussion and reflection."],"prefercite_html_tesm":["\u003cp\u003eUniversity of Central Florida Library Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["University of Central Florida Library Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003e\u003chead audience=\"internal\"\u003eProcessing History\u003c/head\u003e The original UCF Library Exhibits Records collection was processed by and finding aid prepared by April Karlene Anderson in 2005. Rusted paper clips were removed and replaced with plastic clips. News clippings were photocopied onto acid-free paper. All materials were rehoused in acid-free folders and boxes. Duplicates were removed and social security numbers were obliterated. Post-it notes were moved to the edge of the documents to prevent destruction of information. To facilitate research, files in the alphabetical files that belonged more appropriately in other series were moved. The acquisition method field and the subjects were updated by Kryslynn Collazo in 2018. The original University of Central Florida Libraries Promotion Coordinating Committee Records were processed by and finding aid prepared by Mary Rubin in 2012. Materials were re-foldered in archival materials. The original University of Central Florida Libraries Faculty Affairs Committee Documents were processed by and finding aid prepared by Mary Rubin in 2013.Renata Nagy began began combining these collections in 2017. The collection was finished by Elisabeth \"Eli\" Jimenez in 2022.Additional materials processed in 2024 by Arielle Petrovich.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing History"],"processinfo_tesim":["Processing History  The original UCF Library Exhibits Records collection was processed by and finding aid prepared by April Karlene Anderson in 2005. Rusted paper clips were removed and replaced with plastic clips. News clippings were photocopied onto acid-free paper. All materials were rehoused in acid-free folders and boxes. Duplicates were removed and social security numbers were obliterated. Post-it notes were moved to the edge of the documents to prevent destruction of information. To facilitate research, files in the alphabetical files that belonged more appropriately in other series were moved. The acquisition method field and the subjects were updated by Kryslynn Collazo in 2018. The original University of Central Florida Libraries Promotion Coordinating Committee Records were processed by and finding aid prepared by Mary Rubin in 2012. Materials were re-foldered in archival materials. The original University of Central Florida Libraries Faculty Affairs Committee Documents were processed by and finding aid prepared by Mary Rubin in 2013.Renata Nagy began began combining these collections in 2017. The collection was finished by Elisabeth \"Eli\" Jimenez in 2022.Additional materials processed in 2024 by Arielle Petrovich."],"relatedmaterial_html_tesm":["\u003cp\u003eFor more information on university archives, please see our website. There is mention of a book sale at the library that was held on February 11, 1992 at the lobby. This event is referenced in the Central Florida Future Vol. 24 No. 41 and also in the UCF Report of February 5, 1992. Library Faculty Meeting Minutes from 1978 to 1994 are bound and is listed speartely from this collection. The call number is LD 1772 .F 934.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["For more information on university archives, please see our website. There is mention of a book sale at the library that was held on February 11, 1992 at the lobby. This event is referenced in the Central Florida Future Vol. 24 No. 41 and also in the UCF Report of February 5, 1992. Library Faculty Meeting Minutes from 1978 to 1994 are bound and is listed speartely from this collection. The call number is LD 1772 .F 934."],"scopecontent_html_tesm":["\u003carrangement\u003eThis collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically.\n\n\u003c/arrangement\u003e"],"scopecontent_heading_ssm":["Collection Scope and Content"],"scopecontent_tesim":["This collection is arranged in five series. Series I contains both alphabetical and chronological arrangement by subseries. Series II, III, and IV is broken down further into subseries and arranged chronologically. Lastly, Series V is arranged alphabetically by subseries and arranged chronologically.\n\n"],"userestrict_html_tesm":["\u003cp\u003eUnpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Copyright Statement"],"userestrict_tesim":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_41f21e1f17593b0322fc574db5d1b370\"\u003eThe Library collection documents the history of the John C. Hitt library. There are several subseries pertaining to different leaders, committees, and departments found within the library. This collection contains photographs, negatives, CDs, VHSs, and documents.\u003c/abstract\u003e"],"abstract_tesim":["The Library collection documents the history of the John C. Hitt library. There are several subseries pertaining to different leaders, committees, and departments found within the library. This collection contains photographs, negatives, CDs, VHSs, and documents."],"names_coll_ssim":["Florida Technological University","University of Central Florida","University of Central Florida. Library","University of Central Florida. Library -- Exhibitions","University of Central Florida. 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","This collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.","Also notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.","Most labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. "],"userestrict_html_tesm":["\u003cp\u003eThis collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"names_ssim":["Thomas B. Mack Florida Citrus Archives"],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":949,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"456875eab9536e3707a4b04f","timestamp":"2026-06-30T02:21:32.973Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/456875eab9536e3707a4b04f_aspace_ec830ec33783f2c5e4d6505cce11e9ba"}},{"id":"18ce43a3c782b797db9fa781_aspace_177936","type":"Item","attributes":{"title":"[Acrobatic men on float]","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_177936#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_177936#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_177936","ref_ssm":["aspace_177936","aspace_177936"],"id":"18ce43a3c782b797db9fa781_aspace_177936","title_filing_ssi":"[Acrobatic men on float]","title_ssm":["[Acrobatic men on float]"],"title_tesim":["[Acrobatic men on float]"],"normalized_title_ssm":["[Acrobatic men on float]"],"text":["[Acrobatic men on float]","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey","Parades","Item 25","/repositories/2/archival_objects/82628","Black and white photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179820","18ce43a3c782b797db9fa781_aspace_177911"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey","Parades"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Parades, Admiral Dewey","Parades"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 25","/repositories/2/archival_objects/82628"],"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":780,"parent_access_restrict_tesm":["Fragile materials served by appointment. Gloves required."],"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"scopecontent_html_tesm":["\u003cp\u003eBlack and white photograph.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Black and white photograph."],"_nest_path_":"/components#18/components#0/components#24","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_177911","_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content 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