{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?page=64451\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?page=64450\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?page=64452\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?page=65767\u0026view=compact"},"meta":{"pages":{"current_page":64451,"next_page":64452,"prev_page":64450,"total_pages":65767,"limit_value":10,"offset_value":644500,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"6403e4b1ffd89e42ac3f9998_aspace_6389","type":"File","attributes":{"title":"Wild Rapids Water Slide, Pensacola, Fla., n.d.","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/6403e4b1ffd89e42ac3f9998_aspace_6389#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eRecreational. 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Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years."],"containers_ssim":["folder 15"],"scopecontent_html_tesm":["\u003cp\u003eRecreational.  [1 piece]\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Recreational.  [1 piece]"],"_nest_path_":"/components#1/components#14","_nest_parent_":"6403e4b1ffd89e42ac3f9998_aspace_6351","_root_":"6403e4b1ffd89e42ac3f9998","_version_":1870863435737071616,"timestamp":"2026-07-16T09:33:28.165Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"6403e4b1ffd89e42ac3f9998","title_ssm":["University of West Florida. Small Business Development Center Records"],"title_tesim":["University of West Florida. 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Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years.","UWF University Archives and West Florida History Center","University of West Florida","University of West Florida. Small Business Development Center.","English"],"unitid_tesim":["M1987-02","/repositories/2/resources/173"],"normalized_date_ssm":["1980-1984, Date acquired: 00/00/1987"],"normalized_title_ssm":["University of West Florida. Small Business Development Center Records, 1980-1984, Date acquired: 00/00/1987"],"collection_title_tesim":["University of West Florida. Small Business Development Center Records, 1980-1984, Date acquired: 00/00/1987"],"collection_ssim":["University of West Florida. 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Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years."],"names_coll_ssim":["University of West Florida. Small Business Development Center."],"names_ssim":["UWF University Archives and West Florida History Center","University of West Florida","University of West Florida. Small Business Development Center."],"corpname_ssim":["UWF University Archives and West Florida History Center","University of West Florida","University of West Florida. 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In size, the press books vary from a single page or sheet to a booklet of a dozen or more pages. Some contain various enclosures such as pictures and additional ad sheets.\n The records consist of 33 1/3's and 45's which may contain several radio commercials of various lengths.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","FSU Special Collections \u0026 Archives","English"],"unitid_tesim":["MSS 76-18","/repositories/10/resources/599"],"normalized_date_ssm":["1957-1976, Date acquired: 08/01/1976"],"normalized_title_ssm":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"collection_title_tesim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"collection_ssim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. 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Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"names_ssim":["FSU Special Collections \u0026 Archives"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2853,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"f70dba2e4db85b9be660d412","timestamp":"2026-04-21T12:50:36.292Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/f70dba2e4db85b9be660d412_aspace_168041"}},{"id":"d9a36525adf5c0fd8dab049a_aspace_54477","type":"File","attributes":{"title":"\"Wild Rivers and Scenic River\" Bills","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/d9a36525adf5c0fd8dab049a_aspace_54477#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_54477","ref_ssm":["aspace_54477","aspace_54477"],"id":"d9a36525adf5c0fd8dab049a_aspace_54477","title_filing_ssi":"\"Wild Rivers and Scenic River\" Bills","title_ssm":["\"Wild Rivers and Scenic River\" Bills"],"title_tesim":["\"Wild Rivers and Scenic River\" Bills"],"normalized_title_ssm":["\"Wild Rivers and Scenic River\" Bills"],"text":["\"Wild Rivers and Scenic River\" Bills","LeRoy Collins papers, 1945-1993, Date acquired: 00/00/1962, bulk 1953-1968","Mixed Materials, Private Citizen, and St. Peteresburg Times Columnist, 1955-1993","Miscellaneous NAB, CRS, USC Speeches and Research, 1961-1966","Folder 9","/repositories/2/archival_objects/71875","box 332","folder 9"],"component_level_isim":[3],"parent_ids_ssim":["d9a36525adf5c0fd8dab049a","d9a36525adf5c0fd8dab049a_aspace_54274","d9a36525adf5c0fd8dab049a_aspace_54463"],"parent_unittitles_ssm":["LeRoy Collins papers, 1945-1993, Date acquired: 00/00/1962, bulk 1953-1968","Mixed Materials, Private Citizen, and St. Peteresburg Times Columnist, 1955-1993","Miscellaneous NAB, CRS, USC Speeches and Research, 1961-1966"],"parent_unittitles_tesim":["LeRoy Collins papers, 1945-1993, Date acquired: 00/00/1962, bulk 1953-1968","Mixed Materials, Private Citizen, and St. Peteresburg Times Columnist, 1955-1993","Miscellaneous NAB, CRS, USC Speeches and Research, 1961-1966"],"parent_levels_ssm":["collection","Series","Box"],"unitid_ssm":["Folder 9","/repositories/2/archival_objects/71875"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["LeRoy Collins papers, 1945-1993, Date acquired: 00/00/1962, bulk 1953-1968"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":3290,"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"containers_ssim":["box 332","folder 9"],"_nest_path_":"/components#8/components#4/components#8","_nest_parent_":"d9a36525adf5c0fd8dab049a_aspace_54463","_root_":"d9a36525adf5c0fd8dab049a","_version_":1879922096413343744,"timestamp":"2026-10-24T09:17:00.075Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"d9a36525adf5c0fd8dab049a","title_ssm":["LeRoy Collins papers"],"title_tesim":["LeRoy Collins papers"],"ead_ssi":"d9a36525adf5c0fd8dab049a","unitdate_ssm":["1945-1993","1953-1968","Date acquired: 00/00/1962"],"unitdate_bulk_ssim":["1953-1968"],"unitdate_inclusive_ssm":["1945-1993"],"unitdate_other_ssim":["Date acquired: 00/00/1962"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1962-01","/repositories/2/resources/382"],"text":["MS-1962-01","/repositories/2/resources/382","LeRoy Collins papers, 1945-1993, Date acquired: 00/00/1962, bulk 1953-1968","Florida -- Politics and government","Florida -- History","Civil rights -- Florida","United States. Navy","Florida -- Legislature -- House of Representatives","Governors -- Florida -- biography","Additional correspondence (1961-1968), film strips, tapes, and campaign materials for Collins' senatorial campaign in 1969 donated by LeRoy Collins in December 1969.","The collection is arranged chronologically by Collins' career. Individual series are devoted to Collins' years in the House of Representatives and the Senate, the Governorship, the Chairmanship of the Democratic National Convention, his tenure as president of the National Association of Broadcasters, appointments as both Director of Community Relations and Undersecretary of Commerce, an unsuccessful bid for the Senate in 1968, and his years in retirement. Within each series, the papers are arranged categorically by box. Pictures, films, and memorabilia are arranged in separate series as well.","LeRoy Collins was born in Tallahassee on March 10, 1909. He graduated from Leon High School in Tallahassee and received a degree in law from Cumberland University in Birmingham, Alabama. He returned to Tallahassee and married Mary Call Darby, the great-granddaughter of Richard Call who had twice served as Territorial Governor of Florida.","Soon after his marriage to Mary Call, Collins was elected as the representative of Leon County to the Florida House of Representatives in 1934. He served in this position until 1940 when he filled the term of the late William Hodges in the Florida Senate. Collins purchased the Call family home \"The Grove\" in 1941 and shortly thereafter resigned his position from the Florida Senate to join the Navy in 1942. He was reelected to the Florida Senate upon his return from World War II in 1946. He was reelected in 1950, serving until 1954 when a special election was held to fill the remaining two years in the term of the late Governor Daniel T. McCarty, who had died in office in 1953.","Collins Served as Florida's thirty-third Governor from 1955 to 1961 where he dealt with the complicated social and political issues of the time. His two greatest issues were the dismantling of segregation and the process of political patronage, both of which he employed a liberal diplomacy. Collins was also integral in the development of the Florida University system, including the University of South Florida in Tampa. He is considered by many historians to be one of the first liberal Southern Democrats to transform the political agenda of the South and is thought to be one of the best governors in Florida's History.","Collins served as the Chairman of the Democratic National Convention in 1960, where he was a possible candidate for the presidential nomination due to his leadership position amongst Southern Governors and his strong stance on Civil Rights which would attract Northern liberals, however he did not seek the nomination. Upon leaving the governor's office, he became President of the National Association of Broadcasters, where he served until 1964. President Lyndon B. Johnson appointed Collins to be the first Director of Community Relations, a government office created out of the Civil Rights Act of 1964. This was followed by an appointment to the Undersecretary of Commerce in 1965 by President Johnson.","Following his service in the federal government, Collins sought reelection to the Florida Senate in 1968. He won the primary but lost in the general election. His progressive stand for Civil Rights and his highly publicized role in the Selma, Alabama march while Director of Community Relations is credited with having cost him the 1968 Senate election.","Upon his retirement from public service, Collins retired from his law firm in Tampa in which he had been a partner. He then returned to \"The Grove\" in Tallahassee where he remained active in the community and was also a guest contributor on politics to the  St. Petersburg Times  until his death from cancer in 1991","Note written by JT, 2011","Thomas LeRoy Collins Papers, Special Collections, Robert Manning Strozier Library, Florida State University, Tallahassee, Florida.","The materials comprising the Collins papers range in date from the 1940s to the 1980s, with concentrations in Collins' terms as Governor and materials related to his 1968 unsuccessful Senatorial campaign. The collection consists of 344 manuscript boxes, approximately 200 linear feet of papers which include and are not limited to correspondence files, working papers, reports, campaign research, memoranda and speeches. The collection also includes approximately 35 scrapbooks, memorabilia, and an extensive amount of pictures. Film and recordings from the collection were transferred to the State Library and Archives of Florida for preservation.","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","Florida. Governor (1955-1961 : Collins)","National Association of Broadcasters","Florida. Legislature. Senate","Collins, LeRoy, 1909-1991","Collins, Mary Call","English"],"unitid_tesim":["MS-1962-01","/repositories/2/resources/382"],"normalized_date_ssm":["1945-1993, Date acquired: 00/00/1962, bulk 1953-1968"],"normalized_title_ssm":["LeRoy Collins papers, 1945-1993, Date acquired: 00/00/1962, bulk 1953-1968"],"collection_title_tesim":["LeRoy Collins papers, 1945-1993, Date acquired: 00/00/1962, bulk 1953-1968"],"collection_ssim":["LeRoy Collins papers, 1945-1993, Date acquired: 00/00/1962, bulk 1953-1968"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Florida -- Politics and government","Florida -- History"],"geogname_ssim":["Florida -- Politics and government","Florida -- History"],"creator_ssm":["Collins, LeRoy, 1909-1991"],"creator_ssim":["Collins, LeRoy, 1909-1991"],"creator_persname_ssim":["Collins, LeRoy, 1909-1991"],"creators_ssim":["Collins, LeRoy, 1909-1991"],"places_ssim":["Florida -- Politics and government","Florida -- History"],"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":["LeRoy Collins","Donation"],"access_subjects_ssim":["Civil rights -- Florida","United States. Navy","Florida -- Legislature -- House of Representatives","Governors -- Florida -- biography"],"access_subjects_ssm":["Civil rights -- Florida","United States. Navy","Florida -- Legislature -- House of Representatives","Governors -- Florida -- biography"],"has_online_content_ssim":["false"],"extent_ssm":["209.61 Linear Feet","471 boxes"],"extent_tesim":["209.61 Linear Feet","471 boxes"],"date_range_isim":[1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993],"accruals_html_tesm":["\u003cp\u003eAdditional correspondence (1961-1968), film strips, tapes, and campaign materials for Collins' senatorial campaign in 1969 donated by LeRoy Collins in December 1969.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals and Additions"],"accruals_tesim":["Additional correspondence (1961-1968), film strips, tapes, and campaign materials for Collins' senatorial campaign in 1969 donated by LeRoy Collins in December 1969."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged chronologically by Collins' career. Individual series are devoted to Collins' years in the House of Representatives and the Senate, the Governorship, the Chairmanship of the Democratic National Convention, his tenure as president of the National Association of Broadcasters, appointments as both Director of Community Relations and Undersecretary of Commerce, an unsuccessful bid for the Senate in 1968, and his years in retirement. Within each series, the papers are arranged categorically by box. Pictures, films, and memorabilia are arranged in separate series as well.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is arranged chronologically by Collins' career. Individual series are devoted to Collins' years in the House of Representatives and the Senate, the Governorship, the Chairmanship of the Democratic National Convention, his tenure as president of the National Association of Broadcasters, appointments as both Director of Community Relations and Undersecretary of Commerce, an unsuccessful bid for the Senate in 1968, and his years in retirement. Within each series, the papers are arranged categorically by box. Pictures, films, and memorabilia are arranged in separate series as well."],"bioghist_html_tesm":["\u003cp\u003eLeRoy Collins was born in Tallahassee on March 10, 1909. He graduated from Leon High School in Tallahassee and received a degree in law from Cumberland University in Birmingham, Alabama. He returned to Tallahassee and married Mary Call Darby, the great-granddaughter of Richard Call who had twice served as Territorial Governor of Florida.\u003c/p\u003e\n","\u003cp\u003eSoon after his marriage to Mary Call, Collins was elected as the representative of Leon County to the Florida House of Representatives in 1934. He served in this position until 1940 when he filled the term of the late William Hodges in the Florida Senate. Collins purchased the Call family home \"The Grove\" in 1941 and shortly thereafter resigned his position from the Florida Senate to join the Navy in 1942. He was reelected to the Florida Senate upon his return from World War II in 1946. He was reelected in 1950, serving until 1954 when a special election was held to fill the remaining two years in the term of the late Governor Daniel T. McCarty, who had died in office in 1953.\u003c/p\u003e\n","\u003cp\u003eCollins Served as Florida's thirty-third Governor from 1955 to 1961 where he dealt with the complicated social and political issues of the time. His two greatest issues were the dismantling of segregation and the process of political patronage, both of which he employed a liberal diplomacy. Collins was also integral in the development of the Florida University system, including the University of South Florida in Tampa. He is considered by many historians to be one of the first liberal Southern Democrats to transform the political agenda of the South and is thought to be one of the best governors in Florida's History.\u003c/p\u003e\n","\u003cp\u003eCollins served as the Chairman of the Democratic National Convention in 1960, where he was a possible candidate for the presidential nomination due to his leadership position amongst Southern Governors and his strong stance on Civil Rights which would attract Northern liberals, however he did not seek the nomination. Upon leaving the governor's office, he became President of the National Association of Broadcasters, where he served until 1964. President Lyndon B. Johnson appointed Collins to be the first Director of Community Relations, a government office created out of the Civil Rights Act of 1964. This was followed by an appointment to the Undersecretary of Commerce in 1965 by President Johnson.\u003c/p\u003e\n","\u003cp\u003eFollowing his service in the federal government, Collins sought reelection to the Florida Senate in 1968. He won the primary but lost in the general election. His progressive stand for Civil Rights and his highly publicized role in the Selma, Alabama march while Director of Community Relations is credited with having cost him the 1968 Senate election.\u003c/p\u003e\n","\u003cp\u003eUpon his retirement from public service, Collins retired from his law firm in Tampa in which he had been a partner. He then returned to \"The Grove\" in Tallahassee where he remained active in the community and was also a guest contributor on politics to the \u003cemph render=\"italic\"\u003eSt. Petersburg Times\u003c/emph\u003e until his death from cancer in 1991\u003c/p\u003e\n","\u003cp\u003eNote written by JT, 2011\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["LeRoy Collins was born in Tallahassee on March 10, 1909. He graduated from Leon High School in Tallahassee and received a degree in law from Cumberland University in Birmingham, Alabama. He returned to Tallahassee and married Mary Call Darby, the great-granddaughter of Richard Call who had twice served as Territorial Governor of Florida.","Soon after his marriage to Mary Call, Collins was elected as the representative of Leon County to the Florida House of Representatives in 1934. He served in this position until 1940 when he filled the term of the late William Hodges in the Florida Senate. Collins purchased the Call family home \"The Grove\" in 1941 and shortly thereafter resigned his position from the Florida Senate to join the Navy in 1942. He was reelected to the Florida Senate upon his return from World War II in 1946. He was reelected in 1950, serving until 1954 when a special election was held to fill the remaining two years in the term of the late Governor Daniel T. McCarty, who had died in office in 1953.","Collins Served as Florida's thirty-third Governor from 1955 to 1961 where he dealt with the complicated social and political issues of the time. His two greatest issues were the dismantling of segregation and the process of political patronage, both of which he employed a liberal diplomacy. Collins was also integral in the development of the Florida University system, including the University of South Florida in Tampa. He is considered by many historians to be one of the first liberal Southern Democrats to transform the political agenda of the South and is thought to be one of the best governors in Florida's History.","Collins served as the Chairman of the Democratic National Convention in 1960, where he was a possible candidate for the presidential nomination due to his leadership position amongst Southern Governors and his strong stance on Civil Rights which would attract Northern liberals, however he did not seek the nomination. Upon leaving the governor's office, he became President of the National Association of Broadcasters, where he served until 1964. President Lyndon B. Johnson appointed Collins to be the first Director of Community Relations, a government office created out of the Civil Rights Act of 1964. This was followed by an appointment to the Undersecretary of Commerce in 1965 by President Johnson.","Following his service in the federal government, Collins sought reelection to the Florida Senate in 1968. He won the primary but lost in the general election. His progressive stand for Civil Rights and his highly publicized role in the Selma, Alabama march while Director of Community Relations is credited with having cost him the 1968 Senate election.","Upon his retirement from public service, Collins retired from his law firm in Tampa in which he had been a partner. He then returned to \"The Grove\" in Tallahassee where he remained active in the community and was also a guest contributor on politics to the  St. Petersburg Times  until his death from cancer in 1991","Note written by JT, 2011"],"prefercite_html_tesm":["\u003cp\u003eLeRoy Collins papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["LeRoy Collins papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eThomas LeRoy Collins Papers, Special Collections, Robert Manning Strozier Library, Florida State University, Tallahassee, Florida.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Thomas LeRoy Collins Papers, Special Collections, Robert Manning Strozier Library, Florida State University, Tallahassee, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThe materials comprising the Collins papers range in date from the 1940s to the 1980s, with concentrations in Collins' terms as Governor and materials related to his 1968 unsuccessful Senatorial campaign. The collection consists of 344 manuscript boxes, approximately 200 linear feet of papers which include and are not limited to correspondence files, working papers, reports, campaign research, memoranda and speeches. The collection also includes approximately 35 scrapbooks, memorabilia, and an extensive amount of pictures. Film and recordings from the collection were transferred to the State Library and Archives of Florida for preservation.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials comprising the Collins papers range in date from the 1940s to the 1980s, with concentrations in Collins' terms as Governor and materials related to his 1968 unsuccessful Senatorial campaign. The collection consists of 344 manuscript boxes, approximately 200 linear feet of papers which include and are not limited to correspondence files, working papers, reports, campaign research, memoranda and speeches. The collection also includes approximately 35 scrapbooks, memorabilia, and an extensive amount of pictures. Film and recordings from the collection were transferred to the State Library and Archives of Florida for preservation."],"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_coll_ssim":["Florida. Governor (1955-1961 : Collins)","National Association of Broadcasters","Florida. Legislature. Senate","Collins, LeRoy, 1909-1991","Collins, Mary Call"],"names_ssim":["USF Libraries - Tampa Special Collections","Florida. Governor (1955-1961 : Collins)","National Association of Broadcasters","Florida. Legislature. Senate","Collins, LeRoy, 1909-1991","Collins, Mary Call"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Florida. Governor (1955-1961 : Collins)","National Association of Broadcasters","Florida. Legislature. Senate"],"persname_ssim":["Collins, LeRoy, 1909-1991","Collins, Mary Call"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3590,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1879922096413343744,"_root_":"d9a36525adf5c0fd8dab049a","timestamp":"2026-10-24T09:17:00.075Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/d9a36525adf5c0fd8dab049a_aspace_54477"}},{"id":"18ce43a3c782b797db9fa781_aspace_176279","type":"Item","attributes":{"title":"Wild Rose","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_176279#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eHand-colored photograph. By Chas. Beseler Co.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_176279#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_176279","ref_ssm":["aspace_176279","aspace_176279"],"id":"18ce43a3c782b797db9fa781_aspace_176279","title_filing_ssi":"Wild Rose","title_ssm":["Wild Rose"],"title_tesim":["Wild Rose"],"normalized_title_ssm":["Wild Rose"],"text":["Wild Rose","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Flowers, Animals Birds","Flowers","Item 1","/repositories/2/archival_objects/81497","Hand-colored photograph. By Chas. Beseler Co."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179819","18ce43a3c782b797db9fa781_aspace_176278"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Flowers, Animals Birds","Flowers"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Flowers, Animals Birds","Flowers"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 1","/repositories/2/archival_objects/81497"],"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":692,"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\u003eHand-colored photograph. By Chas. Beseler Co.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hand-colored photograph. By Chas. Beseler Co."],"_nest_path_":"/components#17/components#0/components#0","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_176278","_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_176279"}},{"id":"236a3c88b766327883b2e155_aspace_e933f0994b3e42ee17e34985bc051c20","type":"Item","attributes":{"title":"\"Wild Scarlet Hibiscus\", 27x23, 1964","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/236a3c88b766327883b2e155_aspace_e933f0994b3e42ee17e34985bc051c20#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_e933f0994b3e42ee17e34985bc051c20","ref_ssm":["aspace_e933f0994b3e42ee17e34985bc051c20","aspace_e933f0994b3e42ee17e34985bc051c20"],"id":"236a3c88b766327883b2e155_aspace_e933f0994b3e42ee17e34985bc051c20","title_filing_ssi":"\"Wild Scarlet Hibiscus\", 27x23","title_ssm":["\"Wild Scarlet Hibiscus\", 27x23"],"title_tesim":["\"Wild Scarlet Hibiscus\", 27x23"],"unitdate_inclusive_ssm":["1964"],"normalized_date_ssm":["1964"],"normalized_title_ssm":["\"Wild Scarlet Hibiscus\", 27x23, 1964"],"text":["\"Wild Scarlet Hibiscus\", 27x23, 1964","Joy Postle papers, 1910-2015","Art, 1921","Oil Paintings","Flora","/repositories/4/archival_objects/87892","/repositories/4/archival_objects/91478","Art Shelf 12"],"component_level_isim":[4],"parent_ids_ssim":["236a3c88b766327883b2e155","236a3c88b766327883b2e155_aspace_5ab8dfb4bc9fc42fe4ab81752f8bfe14","236a3c88b766327883b2e155_aspace_3303cbe5b1b51a02ba6be97aa8f0f912","236a3c88b766327883b2e155_aspace_ee4672089f3c25f83abc25e42b5f1487"],"parent_unittitles_ssm":["Joy Postle papers, 1910-2015","Art, 1921","Oil Paintings","Flora"],"parent_unittitles_tesim":["Joy Postle papers, 1910-2015","Art, 1921","Oil Paintings","Flora"],"parent_levels_ssm":["collection","Series","Subseries","Subseries"],"unitid_ssm":["/repositories/4/archival_objects/87892","/repositories/4/archival_objects/91478"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Joy Postle papers, 1910-2015"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":250,"parent_access_restrict_tesm":["The entire collection is open for research, although framed paintings are in storage so may only be seen in photographs."],"parent_access_terms_tesm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"date_range_isim":[1964],"containers_ssim":["Art Shelf 12"],"_nest_path_":"/components#0/components#4/components#2/components#2","_nest_parent_":"236a3c88b766327883b2e155_aspace_ee4672089f3c25f83abc25e42b5f1487","_root_":"236a3c88b766327883b2e155","_version_":1881008257660616704,"timestamp":"2026-11-05T09:01:04.268Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"236a3c88b766327883b2e155","title_ssm":["Joy Postle papers"],"title_tesim":["Joy Postle papers"],"ead_ssi":"236a3c88b766327883b2e155","unitdate_ssm":["1910-2015"],"unitdate_inclusive_ssm":["1910-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC066","/repositories/4/resources/185"],"text":["SC066","/repositories/4/resources/185","Joy Postle papers, 1910-2015","Art, American -- Florida","Artists -- Biography","Birds in art","Natural history -- Florida","Wildlife Artists -- United States -- Biography","Women artists","drawings","paintings (visual works)","The entire collection is open for research, although framed paintings are in storage so may only be seen in photographs.","Materials are arranged by format. Titles in quotation marks are quoted from the art piece and are not an indication of a formal title.","Katherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living in a modified Model-T Ford truck nicknamed Brownie House. Postle painted the surrounding landscapes selling her work as they traveled. Hotels, restaurants, banks, and private clients also commissioned her to design and paint murals, a popular decorating technique at the time. Blackstone served as her publicist and manager. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942.","Postle painted her subjects in their natural environment. Waiting patiently, often days, despite insects, reptiles, and weather extremes, she captured her subject using a variety of media including watercolor, gouache, and pen and ink. In addition to painting and drawing, Postle wrote poetry; authored several books including Fine Feathers (1941), Glamour Birds of the Americas (1944), Drawing Animals (1953), and Drawing Birds (1963); and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation. \"Glamour Birds\" was performed for local civic and women's organizations and private groups. Notable personalities who saw her perform included members of the DuPont family, Carl Sandburg, Albín Polasek, Guy Beatty, and Andre Smith.","Blackstone died in 1968 in a fire that destroyed their Lake Rose home. It took Postle two years to recover from the burns she suffered trying to save Blackstone. Of her husband, Postle said, \"he rowed the boat,\" allowing her to be a fulltime artist. After her recovery, Postle continued to paint, perform, and teach. She died in 1989. Her ashes were spread on Lake Rose.","Collection processed by Nadeen Kiwan and finding aid prepared by Suphi Burak Ogreten in 2016.The materials were placed in pH neutral folders and boxes, and photographs were weeded to reduce the number of insignificant snapshots in the collection. Finding aid revised for consistency by Chloe Lanham in 2025.","Joy Postle's publications have been cataloged and may be found in the  university's online catalog .","Joy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.","Series I: Art, 1921-1988, Undated, contains examples of her work in a variety of media. Includes her pencil sketches, pen and ink illustrations, watercolors, color pencil, oil paintings, mixed media, watercolors with acrylic, block prints, offset prints, and murals.","Series II: Writing and Composition, 1944-1976, Undated, holds materials including her manuscripts \"Glamour Birds\", \"Tar and Snow\", \"Haunted Trails of Great Smoky Mountains\", \"A Lamb Named Emmeline\", \"Secrets of the Everglades\", and \"Let's Paint Glamour Birds\". Series also includes Joy's \"Poetry and Prose\" and Sheet Music.","Series III: Photographs, 1912-1988, Undated, divided into subseries, People, Places, Art Work, Animals, Murals, slides, and Negatives.","Series IV: Personal Files, 1910-2015, Undated, artworks created by others, biographical documents, correspondence, exhibits and performances, memorabilia, memorial, miscellaneous items, news clippings, publications, and sound recordings.","Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder.","Joy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.\n\nKatherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942. In addition to painting and drawing, Postle wrote poetry and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation.","UCF Special Collections","Postle, Joy","English"],"unitid_tesim":["SC066","/repositories/4/resources/185"],"normalized_date_ssm":["1910-2015"],"normalized_title_ssm":["Joy Postle papers, 1910-2015"],"collection_title_tesim":["Joy Postle papers, 1910-2015"],"collection_ssim":["Joy Postle papers, 1910-2015"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"creator_ssm":["Postle, Joy"],"creator_ssim":["Postle, Joy"],"creator_persname_ssim":["Postle, Joy"],"creators_ssim":["Postle, Joy"],"access_terms_ssm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["Gifted by Denise Hall in 2005, Judy Johnson in 2013 (CFM2013_03), Pam Bennett in 2015 (CFM2015_10), and Douglas Wesson in 2016 (CFM2016_04), 2017 (CFM2017_04), and 2021 (CFM2021_02).","Purchased from Mike Caruso in 2006 (CFM2006_07), John Goodlin and Gloria Ellis in 2008 (CFM2008_04), and Judy Johnson in 2011 (CFM2011_04)."],"access_subjects_ssim":["Art, American -- Florida","Artists -- Biography","Birds in art","Natural history -- Florida","Wildlife Artists -- United States -- Biography","Women artists","drawings","paintings (visual works)"],"access_subjects_ssm":["Art, American -- Florida","Artists -- Biography","Birds in art","Natural history -- Florida","Wildlife Artists -- United States -- Biography","Women artists","drawings","paintings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["9.25 Linear Feet 11 Boxes, 96 Art Pieces, 13 Murals, 1 Easel"],"extent_tesim":["9.25 Linear Feet 11 Boxes, 96 Art Pieces, 13 Murals, 1 Easel"],"genreform_ssim":["drawings","paintings (visual works)"],"date_range_isim":[1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research, although framed paintings are in storage so may only be seen in photographs.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The entire collection is open for research, although framed paintings are in storage so may only be seen in photographs."],"arrangement_html_tesm":["\u003cp\u003eMaterials are arranged by format. Titles in quotation marks are quoted from the art piece and are not an indication of a formal title.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Materials are arranged by format. Titles in quotation marks are quoted from the art piece and are not an indication of a formal title."],"bioghist_html_tesm":["\u003cp\u003eKatherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living in a modified Model-T Ford truck nicknamed Brownie House. Postle painted the surrounding landscapes selling her work as they traveled. Hotels, restaurants, banks, and private clients also commissioned her to design and paint murals, a popular decorating technique at the time. Blackstone served as her publicist and manager. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942.\u003c/p\u003e\n","\u003cp\u003ePostle painted her subjects in their natural environment. Waiting patiently, often days, despite insects, reptiles, and weather extremes, she captured her subject using a variety of media including watercolor, gouache, and pen and ink. In addition to painting and drawing, Postle wrote poetry; authored several books including Fine Feathers (1941), Glamour Birds of the Americas (1944), Drawing Animals (1953), and Drawing Birds (1963); and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation. \"Glamour Birds\" was performed for local civic and women's organizations and private groups. Notable personalities who saw her perform included members of the DuPont family, Carl Sandburg, Alb\u0026#xED;n Polasek, Guy Beatty, and Andre Smith.\u003c/p\u003e\n","\u003cp\u003eBlackstone died in 1968 in a fire that destroyed their Lake Rose home. It took Postle two years to recover from the burns she suffered trying to save Blackstone. Of her husband, Postle said, \"he rowed the boat,\" allowing her to be a fulltime artist. After her recovery, Postle continued to paint, perform, and teach. She died in 1989. Her ashes were spread on Lake Rose.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Katherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living in a modified Model-T Ford truck nicknamed Brownie House. Postle painted the surrounding landscapes selling her work as they traveled. Hotels, restaurants, banks, and private clients also commissioned her to design and paint murals, a popular decorating technique at the time. Blackstone served as her publicist and manager. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942.","Postle painted her subjects in their natural environment. Waiting patiently, often days, despite insects, reptiles, and weather extremes, she captured her subject using a variety of media including watercolor, gouache, and pen and ink. In addition to painting and drawing, Postle wrote poetry; authored several books including Fine Feathers (1941), Glamour Birds of the Americas (1944), Drawing Animals (1953), and Drawing Birds (1963); and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation. \"Glamour Birds\" was performed for local civic and women's organizations and private groups. Notable personalities who saw her perform included members of the DuPont family, Carl Sandburg, Albín Polasek, Guy Beatty, and Andre Smith.","Blackstone died in 1968 in a fire that destroyed their Lake Rose home. It took Postle two years to recover from the burns she suffered trying to save Blackstone. Of her husband, Postle said, \"he rowed the boat,\" allowing her to be a fulltime artist. After her recovery, Postle continued to paint, perform, and teach. She died in 1989. Her ashes were spread on Lake Rose."],"prefercite_html_tesm":["\u003cp\u003e[Identification of Item],Joy Postle papers, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["[Identification of Item],Joy Postle papers, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Nadeen Kiwan and finding aid prepared by Suphi Burak Ogreten in 2016.The materials were placed in pH neutral folders and boxes, and photographs were weeded to reduce the number of insignificant snapshots in the collection. Finding aid revised for consistency by Chloe Lanham in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Nadeen Kiwan and finding aid prepared by Suphi Burak Ogreten in 2016.The materials were placed in pH neutral folders and boxes, and photographs were weeded to reduce the number of insignificant snapshots in the collection. Finding aid revised for consistency by Chloe Lanham in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eJoy Postle's publications have been cataloged and may be found in the \u003cextref href=\"https://library.ucf.edu/\"\u003euniversity's online catalog\u003c/extref\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Joy Postle's publications have been cataloged and may be found in the  university's online catalog ."],"scopecontent_html_tesm":["\u003cp\u003eJoy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.\u003c/p\u003e\n","\u003cp\u003eSeries I: Art, 1921-1988, Undated, contains examples of her work in a variety of media. Includes her pencil sketches, pen and ink illustrations, watercolors, color pencil, oil paintings, mixed media, watercolors with acrylic, block prints, offset prints, and murals.\u003c/p\u003e\n","\u003cp\u003eSeries II: Writing and Composition, 1944-1976, Undated, holds materials including her manuscripts \"Glamour Birds\", \"Tar and Snow\", \"Haunted Trails of Great Smoky Mountains\", \"A Lamb Named Emmeline\", \"Secrets of the Everglades\", and \"Let's Paint Glamour Birds\". Series also includes Joy's \"Poetry and Prose\" and Sheet Music.\u003c/p\u003e\n","\u003cp\u003eSeries III: Photographs, 1912-1988, Undated, divided into subseries, People, Places, Art Work, Animals, Murals, slides, and Negatives.\u003c/p\u003e\n","\u003cp\u003eSeries IV: Personal Files, 1910-2015, Undated, artworks created by others, biographical documents, correspondence, exhibits and performances, memorabilia, memorial, miscellaneous items, news clippings, publications, and sound recordings.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Joy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.","Series I: Art, 1921-1988, Undated, contains examples of her work in a variety of media. Includes her pencil sketches, pen and ink illustrations, watercolors, color pencil, oil paintings, mixed media, watercolors with acrylic, block prints, offset prints, and murals.","Series II: Writing and Composition, 1944-1976, Undated, holds materials including her manuscripts \"Glamour Birds\", \"Tar and Snow\", \"Haunted Trails of Great Smoky Mountains\", \"A Lamb Named Emmeline\", \"Secrets of the Everglades\", and \"Let's Paint Glamour Birds\". Series also includes Joy's \"Poetry and Prose\" and Sheet Music.","Series III: Photographs, 1912-1988, Undated, divided into subseries, People, Places, Art Work, Animals, Murals, slides, and Negatives.","Series IV: Personal Files, 1910-2015, Undated, artworks created by others, biographical documents, correspondence, exhibits and performances, memorabilia, memorial, miscellaneous items, news clippings, publications, and sound recordings."],"userestrict_html_tesm":["\u003cp\u003eUnpublished records 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 records 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_f14f0b1d750943f8b3e1b6c34b411fce\" label=\"Abstract\"\u003eJoy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.\n\nKatherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942. In addition to painting and drawing, Postle wrote poetry and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation.\u003c/abstract\u003e"],"abstract_tesim":["Joy Postle papers, 1910-2015 contains books, manuscript material, and fine art by and about Joy Postle documents her work and her legacy as an artist, muralist, naturalist, poet, writer, and entertainer. These papers contain correspondence, news clippings, drawings, paintings, a scrapbook and many photographs documenting Joy Postle's life and work, providing insight into her personal life and creative process. Most of the collection is devoted to her art in all its forms and images that she used for inspiration.\n\nKatherine Joy Postle was born in Chicago, Illinois in 1896. She studied music and art at the Art Institute of Chicago. Upon graduation in the 1920s, Postle moved to the Snake River Canyon area of Idaho establishing herself as an artist and interior decorator. In Idaho, she met her husband, journalist Robert Blackstone. The couple traveled throughout the West, Southwest, and South living. Arriving in Florida in 1934, the couple continued their nomadic lifestyle until purchasing a small home on Lake Rose, near Orlando, in 1942. In addition to painting and drawing, Postle wrote poetry and worked for the WPA Florida Art Project. Around 1937, Postle and Blackstone conceived \"Glamour Birds,\" a unique entertainment show combining recorded bird songs and music with Postle singing, painting birds, and teaching her audience about wildlife and conservation."],"names_ssim":["UCF Special Collections","Postle, Joy"],"corpname_ssim":["UCF Special Collections"],"names_coll_ssim":["Postle, Joy"],"persname_ssim":["Postle, Joy"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":432,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1881008257660616704,"_root_":"236a3c88b766327883b2e155","timestamp":"2026-11-05T09:01:04.268Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/236a3c88b766327883b2e155_aspace_e933f0994b3e42ee17e34985bc051c20"}},{"id":"f70dba2e4db85b9be660d412_aspace_168625","type":"Item","attributes":{"title":"Wild Season","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/f70dba2e4db85b9be660d412_aspace_168625#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eItems available: 1 press release\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f70dba2e4db85b9be660d412_aspace_168625#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_168625","ref_ssm":["aspace_168625","aspace_168625"],"id":"f70dba2e4db85b9be660d412_aspace_168625","title_filing_ssi":"Wild Season","title_ssm":["Wild Season"],"title_tesim":["Wild Season"],"normalized_title_ssm":["Wild Season"],"text":["Wild Season","Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","Universal Studios","Item UNIV 276","/repositories/10/archival_objects/64712","Items available: 1 press release"],"component_level_isim":[2],"parent_ids_ssim":["f70dba2e4db85b9be660d412","f70dba2e4db85b9be660d412_aspace_168349"],"parent_unittitles_ssm":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","Universal Studios"],"parent_unittitles_tesim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976","Universal Studios"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["Item UNIV 276","/repositories/10/archival_objects/64712"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Cinema Promotional Materials, 1957-1976, Date acquired: 08/01/1976"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":2360,"parent_access_restrict_tesm":["This collection is open to all researchers. ","Portions of this collection are in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Boxes 2-5 and 8 may be accessed at the Claude Pepper Library."],"parent_access_terms_tesm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. 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