{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?page=64632\u0026view=list","prev":"https://flvc.lyrasistechnology.org/catalog.json?page=64631\u0026view=list","next":"https://flvc.lyrasistechnology.org/catalog.json?page=64633\u0026view=list","last":"https://flvc.lyrasistechnology.org/catalog.json?page=65767\u0026view=list"},"meta":{"pages":{"current_page":64632,"next_page":64633,"prev_page":64631,"total_pages":65767,"limit_value":10,"offset_value":646310,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"dd38bff49c4e87e02dde1ee1_aspace_81271","type":"File","attributes":{"title":"Wilson, Sandra","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/dd38bff49c4e87e02dde1ee1_aspace_81271#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_81271","ref_ssm":["aspace_81271","aspace_81271"],"id":"dd38bff49c4e87e02dde1ee1_aspace_81271","title_filing_ssi":"Wilson, Sandra","title_ssm":["Wilson, Sandra"],"title_tesim":["Wilson, Sandra"],"normalized_title_ssm":["Wilson, Sandra"],"text":["Wilson, Sandra","Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","Dunn Photographs","Wakulla County - Zielonka","Folder 27","/repositories/2/archival_objects/128360","box 324","folder 27"],"component_level_isim":[3],"parent_ids_ssim":["dd38bff49c4e87e02dde1ee1","dd38bff49c4e87e02dde1ee1_aspace_73982","dd38bff49c4e87e02dde1ee1_aspace_81248"],"parent_unittitles_ssm":["Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","Dunn Photographs","Wakulla County - Zielonka"],"parent_unittitles_tesim":["Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","Dunn Photographs","Wakulla County - Zielonka"],"parent_levels_ssm":["collection","Series","Box"],"unitid_ssm":["Folder 27","/repositories/2/archival_objects/128360"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":4363,"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 324","folder 27"],"_nest_path_":"/components#1/components#50/components#26","_nest_parent_":"dd38bff49c4e87e02dde1ee1_aspace_81248","_root_":"dd38bff49c4e87e02dde1ee1","_version_":1875482926083211264,"timestamp":"2026-09-05T09:18:17.355Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"dd38bff49c4e87e02dde1ee1","title_ssm":["Hampton Dunn collection"],"title_tesim":["Hampton Dunn collection"],"ead_ssi":"dd38bff49c4e87e02dde1ee1","unitdate_ssm":["1916-2002","1960-2002","Date acquired: 00/00/1981"],"unitdate_bulk_ssim":["1960-2002"],"unitdate_inclusive_ssm":["1916-2002"],"unitdate_other_ssim":["Date acquired: 00/00/1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1981-01","/repositories/2/resources/549"],"text":["MS-1981-01","/repositories/2/resources/549","Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","Tampa (Fla.) -- History","Florida -- History","Ybor City (Tampa, Fla.)","Tampa (Fla.) -- Newspapers","Tampa (Fla.) -- Politics and government","Hillsborough County (Fla.) -- History","Florida -- History, Local","Dunn, Hampton -- Correspondence","Tampa (Fla.) -- Social life and customs","The collection is arranged alphabetically with a separate series for photographs. The cities, towns, and physical locations within Florida are arranged in the county in which they reside. For example, Tampa is listed under Hillsborough County.","Henry Hampton Dunn and his twin sister Hazel were born in Floral City, Florida on December 14, 1916. Dunn published his first article in 1932 as a Boy Scout correspondent for the Citrus County Chronicle. During his high school years, which he completed in Tampa, he wrote sports reviews for the  Tampa Tribune  and  Florida Times Union . He attended Mercer University in Macon, Georgia, University of Tampa in Florida and served as a public relations officer and war correspondent with the 12 th  Air Force during World War II. He left the service in November 1945 at the rank of major and with a Bronze Star.","Dunn joined the Tampa Daily Times as a full-time journalist in 1936. In 1946 he received the \"Best News Story Award\" from the Associated Press Association of Florida for his coverage of the Marjorie Kinnan Rawlings invasion of privacy trial.For two years Dunn served as a political commentator and news analyst for station WCKT-TV in Miami.  When he returned to Tampa, he joined the Peninsula Motor Club, an affiliate of the American Automobile Association, as an executive officer and later vice president.","Dunn edited AAA's monthly magazine,  Florida Explorer , and several other journals and newsletters including the  Sunland Tribune  (Tampa Historical Society) and  The Hub  (Rotary Club of Tampa).  His syndicated columns included \"Photouring Florida\" (began in 1966), \"Floridana,\" and \"Palm Tree Politics.\"  During his later years, he presented \"Hampton Dunn's Yesterdays\" – little histories of Florida events – on WTVT, Channel 13. Hampton belonged to many organizations, including the Tampa Historical Society, Florida Historical Society, and Historical Association of Southern Florida.  His talks to many historical and genealogical groups around the state earned him the affectionate title, \"Mr. Florida.\"","Hampton and his wife Charlotte Ruth Rawls Dunn were the parents of three children.  He died February 3, 2002.","Sources:","Berube, Rich.  \"Hampton Dunn Gift Brings Florida's History to Life.\"   Sunland Tribune   7 (November 1982): 65-67.","Camp, Paul.   Collecting Florida: The Hampton Dunn Collection and other Floridiana.  Tampa, FL: University of South Florida Libraries, 2006.","Note written by Paul Eugene Camp","Camp, Paul E.  Collecting Florida: The Hampton Dunn Collection and other Floridiana . Tampa, FL: University of South Florida, 2006. ","Dunn, Hampton.  Yesterday's Tampa . Miami, Fla: E.A. Seemann Pub, 1972.","Dunn, Hampton.  Hampton Dunn's History of Tampa Bay . Tampa, Fla: Southern Star Productions, 1992.","Only a Newspaper Guy: The Life and Times of Hampton Dunn . Inverness, Fla: The Society, 1995.","Dunn, Hampton.  Hampton Dunn Photouring Florida Collection . Tampa, Fla: University of South Florida, Tampa Library, 2000.","Dunn, Hampton, and Robert J. Kerstein.  Hampton Dunn Oral History Interview . Tampa, Fla: University of South Florida Tampa Library, 2005.","The collection consists of syndicated newspaper clippings, ephemera, correspondence, brochures, photographs, and articles written about the various places and people of Florida.","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 Historical Society","Florida. 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The cities, towns, and physical locations within Florida are arranged in the county in which they reside. For example, Tampa is listed under Hillsborough County.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is arranged alphabetically with a separate series for photographs. The cities, towns, and physical locations within Florida are arranged in the county in which they reside. For example, Tampa is listed under Hillsborough County."],"bioghist_html_tesm":["\u003cp\u003eHenry Hampton Dunn and his twin sister Hazel were born in Floral City, Florida on December 14, 1916. Dunn published his first article in 1932 as a Boy Scout correspondent for the Citrus County Chronicle. During his high school years, which he completed in Tampa, he wrote sports reviews for the \u003cemph render=\"italic\"\u003eTampa Tribune\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eFlorida Times Union\u003c/emph\u003e. He attended Mercer University in Macon, Georgia, University of Tampa in Florida and served as a public relations officer and war correspondent with the 12\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Air Force during World War II. He left the service in November 1945 at the rank of major and with a Bronze Star.\u003c/p\u003e\n","\u003cp\u003eDunn joined the Tampa Daily Times as a full-time journalist in 1936. In 1946 he received the \"Best News Story Award\" from the Associated Press Association of Florida for his coverage of the Marjorie Kinnan Rawlings invasion of privacy trial.For two years Dunn served as a political commentator and news analyst for station WCKT-TV in Miami.\u0026#xA0; When he returned to Tampa, he joined the Peninsula Motor Club, an affiliate of the American Automobile Association, as an executive officer and later vice president.\u003c/p\u003e\n","\u003cp\u003eDunn edited AAA's monthly magazine, \u003cemph render=\"italic\"\u003eFlorida Explorer\u003c/emph\u003e, and several other journals and newsletters including the \u003cemph render=\"italic\"\u003eSunland Tribune \u003c/emph\u003e(Tampa Historical Society) and \u003cemph render=\"italic\"\u003eThe Hub\u003c/emph\u003e (Rotary Club of Tampa).\u0026#xA0; His syndicated columns included \"Photouring Florida\" (began in 1966), \"Floridana,\" and \"Palm Tree Politics.\"\u0026#xA0; During his later years, he presented \"Hampton Dunn's Yesterdays\" \u0026#x2013; little histories of Florida events \u0026#x2013; on WTVT, Channel 13. Hampton belonged to many organizations, including the Tampa Historical Society, Florida Historical Society, and Historical Association of Southern Florida.\u0026#xA0; His talks to many historical and genealogical groups around the state earned him the affectionate title, \"Mr. Florida.\"\u003c/p\u003e\n","\u003cp\u003eHampton and his wife Charlotte Ruth Rawls Dunn were the parents of three children.\u0026#xA0; He died February 3, 2002.\u003c/p\u003e\n","\u003cp\u003eSources:\u003c/p\u003e\n","\u003cp\u003eBerube, Rich.\u0026#xA0; \"Hampton Dunn Gift Brings Florida's History to Life.\"\u0026#xA0; \u003cemph render=\"italic\"\u003eSunland Tribune\u003c/emph\u003e\u0026#xA0; 7 (November 1982): 65-67.\u003c/p\u003e\n","\u003cp\u003eCamp, Paul.\u0026#xA0; \u003cemph render=\"italic\"\u003eCollecting Florida: The Hampton Dunn Collection and other Floridiana.\u003c/emph\u003e Tampa, FL: University of South Florida Libraries, 2006.\u003c/p\u003e\n","\u003cp\u003eNote written by Paul Eugene Camp\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Henry Hampton Dunn and his twin sister Hazel were born in Floral City, Florida on December 14, 1916. Dunn published his first article in 1932 as a Boy Scout correspondent for the Citrus County Chronicle. During his high school years, which he completed in Tampa, he wrote sports reviews for the  Tampa Tribune  and  Florida Times Union . He attended Mercer University in Macon, Georgia, University of Tampa in Florida and served as a public relations officer and war correspondent with the 12 th  Air Force during World War II. He left the service in November 1945 at the rank of major and with a Bronze Star.","Dunn joined the Tampa Daily Times as a full-time journalist in 1936. In 1946 he received the \"Best News Story Award\" from the Associated Press Association of Florida for his coverage of the Marjorie Kinnan Rawlings invasion of privacy trial.For two years Dunn served as a political commentator and news analyst for station WCKT-TV in Miami.  When he returned to Tampa, he joined the Peninsula Motor Club, an affiliate of the American Automobile Association, as an executive officer and later vice president.","Dunn edited AAA's monthly magazine,  Florida Explorer , and several other journals and newsletters including the  Sunland Tribune  (Tampa Historical Society) and  The Hub  (Rotary Club of Tampa).  His syndicated columns included \"Photouring Florida\" (began in 1966), \"Floridana,\" and \"Palm Tree Politics.\"  During his later years, he presented \"Hampton Dunn's Yesterdays\" – little histories of Florida events – on WTVT, Channel 13. Hampton belonged to many organizations, including the Tampa Historical Society, Florida Historical Society, and Historical Association of Southern Florida.  His talks to many historical and genealogical groups around the state earned him the affectionate title, \"Mr. Florida.\"","Hampton and his wife Charlotte Ruth Rawls Dunn were the parents of three children.  He died February 3, 2002.","Sources:","Berube, Rich.  \"Hampton Dunn Gift Brings Florida's History to Life.\"   Sunland Tribune   7 (November 1982): 65-67.","Camp, Paul.   Collecting Florida: The Hampton Dunn Collection and other Floridiana.  Tampa, FL: University of South Florida Libraries, 2006.","Note written by Paul Eugene Camp"],"prefercite_html_tesm":["\u003cp\u003eHampton Dunn collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Hampton Dunn collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eCamp, Paul E. \u003cemph render=\"italic\"\u003eCollecting Florida: The Hampton Dunn Collection and other Floridiana\u003c/emph\u003e. Tampa, FL: University of South Florida, 2006. \u003c/p\u003e\n","\u003cp\u003eDunn, Hampton. \u003cemph render=\"italic\"\u003eYesterday's Tampa\u003c/emph\u003e. Miami, Fla: E.A. Seemann Pub, 1972.\u003c/p\u003e\n","\u003cp\u003eDunn, Hampton. \u003cemph render=\"italic\"\u003eHampton Dunn's History of Tampa Bay\u003c/emph\u003e. Tampa, Fla: Southern Star Productions, 1992.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"italic\"\u003eOnly a Newspaper Guy: The Life and Times of Hampton Dunn\u003c/emph\u003e. Inverness, Fla: The Society, 1995.\u003c/p\u003e\n","\u003cp\u003eDunn, Hampton. \u003cemph render=\"italic\"\u003eHampton Dunn Photouring Florida Collection\u003c/emph\u003e. Tampa, Fla: University of South Florida, Tampa Library, 2000.\u003c/p\u003e\n","\u003cp\u003eDunn, Hampton, and Robert J. Kerstein. \u003cemph render=\"italic\"\u003eHampton Dunn Oral History Interview\u003c/emph\u003e. Tampa, Fla: University of South Florida Tampa Library, 2005.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Publications"],"relatedmaterial_tesim":["Camp, Paul E.  Collecting Florida: The Hampton Dunn Collection and other Floridiana . Tampa, FL: University of South Florida, 2006. ","Dunn, Hampton.  Yesterday's Tampa . Miami, Fla: E.A. Seemann Pub, 1972.","Dunn, Hampton.  Hampton Dunn's History of Tampa Bay . Tampa, Fla: Southern Star Productions, 1992.","Only a Newspaper Guy: The Life and Times of Hampton Dunn . Inverness, Fla: The Society, 1995.","Dunn, Hampton.  Hampton Dunn Photouring Florida Collection . Tampa, Fla: University of South Florida, Tampa Library, 2000.","Dunn, Hampton, and Robert J. Kerstein.  Hampton Dunn Oral History Interview . Tampa, Fla: University of South Florida Tampa Library, 2005."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of syndicated newspaper clippings, ephemera, correspondence, brochures, photographs, and articles written about the various places and people of Florida.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection consists of syndicated newspaper clippings, ephemera, correspondence, brochures, photographs, and articles written about the various places and people of Florida."],"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 Historical Society","Dunn, Hampton (Henry Hampton), 1916-2002"],"names_ssim":["USF Libraries - Tampa Special Collections","Florida Historical Society","Florida. Governor (1917-1921 : Catts)","Dunn, Hampton (Henry Hampton), 1916-2002","Catts, Sidney Johnston, 1863-1936"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Florida Historical Society","Florida. 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[Higher education].\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2b0d7b1d43de4208737dc561_aspace_6153#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_6153","ref_ssm":["aspace_6153","aspace_6153"],"id":"2b0d7b1d43de4208737dc561_aspace_6153","title_filing_ssi":"Wilson, Sandra","title_ssm":["Wilson, Sandra"],"title_tesim":["Wilson, Sandra"],"unitdate_other_ssim":["1979-05-14"],"normalized_date_ssm":["1979-05-14"],"normalized_title_ssm":["Wilson, Sandra, 1979-05-14"],"text":["Wilson, Sandra, 1979-05-14","USF Department of Anthropology African Americans in Florida project, 1864-1998, bulk 1930-1980","Oral History Transcripts","Reddick—York","Folder 26","/repositories/2/archival_objects/111062","box 11","folder 26","Interviewed by Otis Anthony.  [Higher education]."],"component_level_isim":[3],"parent_ids_ssim":["2b0d7b1d43de4208737dc561","2b0d7b1d43de4208737dc561_aspace_5943","2b0d7b1d43de4208737dc561_aspace_6025"],"parent_unittitles_ssm":["USF Department of Anthropology African Americans in Florida project, 1864-1998, bulk 1930-1980","Oral History Transcripts","Reddick—York"],"parent_unittitles_tesim":["USF Department of Anthropology African Americans in Florida project, 1864-1998, bulk 1930-1980","Oral History Transcripts","Reddick—York"],"parent_levels_ssm":["collection","Series","Box"],"unitid_ssm":["Folder 26","/repositories/2/archival_objects/111062"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["USF Department of Anthropology African Americans in Florida project, 1864-1998, bulk 1930-1980"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":316,"parent_access_terms_tesm":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/for more information."],"date_range_isim":[1979],"containers_ssim":["box 11","folder 26"],"scopecontent_html_tesm":["\u003cp\u003eInterviewed by Otis Anthony.  [Higher education].\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Interviewed by Otis Anthony.  [Higher education]."],"_nest_path_":"/components#1/components#2/components#24","_nest_parent_":"2b0d7b1d43de4208737dc561_aspace_6025","_root_":"2b0d7b1d43de4208737dc561","_version_":1870863217024040960,"timestamp":"2026-07-16T09:29:59.570Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2b0d7b1d43de4208737dc561","title_ssm":["USF Department of Anthropology African Americans in Florida project"],"title_tesim":["USF Department of Anthropology African Americans in Florida project"],"ead_ssi":"2b0d7b1d43de4208737dc561","unitdate_ssm":["1864-1998","1930-1980"],"unitdate_bulk_ssim":["1930-1980"],"unitdate_inclusive_ssm":["1864-1998"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2009-13","/repositories/2/resources/480"],"text":["MS-2009-13","/repositories/2/resources/480","USF Department of Anthropology African Americans in Florida project, 1864-1998, bulk 1930-1980","Tampa (Fla.) -- History -- 20th century","African Americans -- Florida","Oral history","Organized into the following series:","1) Research Materials","2) Oral History Tape Transcripts","3) News Clippings","4) Photographs","5) Correspondence","6) Oversized Materials"," \nOrganized alphabetically or chronologically within each series.","This collection consists of materials gathered by the University of South Florida (USF) Department of Anthropology to support its African Americans in Florida research project (1993-1994). The project, which included a study of Central Avenue, Tampa's historic, African American business district, led to a number of public events and activities beginning in October 1994. The project was funded by the Florida Humanities Council, with additional support provided by the Tampa Bay History Center. USF Professors Susan Greenbaum, Ph.D. and Cheryl Rodriguez, Ph.D. contributed significantly to the project, along with former USF Anthropology student Geoffrey Mohlman, independent researcher Beverly Ward, and Ginger Barber. ","The majority of materials compiled for the project originally were created by and collected for the Black History of Tampa Project (1977-1978), a collaboration of the Urban League of Hillsborough County and the Hillsborough County Museum. A federally funded initiative sponsored by the Comprehensive Employment and Training Act (CETA), project was directed by Otis R. Anthony. Other members of the project included Herbert Jones, Fred Beaton, Joyce Dyer, and Shirley Smith.","published","Complete.","List of Acronyms Used in the Finding Aid","NAACP (National Association for the Advancement of Colored People)\nAAF (Army Air Forces)\nANT (Anthropology course prefix)\nHIS (History course prefix)\nWPA (Works Progress Administration)\nSMSA (Standard Modern Statistical Area)\nAME (African Methodist Episcopal [Church])","Otis R. Anthony collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.  ","Otis R. Anthony African Americans in Florida Oral History Project, USF Libraries Digital Collections, University of South Florida, Tampa, FL. ","Jack B. Moore papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL. ","Raper, Arthur Franklin. A study of Negro life in Tampa: Made at the request of the Tampa Welfare League, the Tampa Urban League and the Tampa Young Men's Christian Association. Tampa, FL: 1927. [Also referred to as the \"Raper report\" or \"Mays report\"]","Contains oral histories, photographs, newspaper clippings, and research materials focusing on African American history in Florida between 1930 and 1980, with an emphasis on Tampa, FL.  Such topics as African American-owned businesses in Tampa, Reconstruction, segregation, and the Civil Rights era are covered.","None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information.","Research materials, including photographs, newspaper clippings, and oral history interviews, compiled by the University of South Florida (USF) Department of Anthropology to support its African Americans in Florida research project (1993-1994).","USF Libraries - Tampa Special Collections","University of South Florida. Department of Anthropology","English"],"unitid_tesim":["MS-2009-13","/repositories/2/resources/480"],"normalized_date_ssm":["1864-1998, bulk 1930-1980"],"normalized_title_ssm":["USF Department of Anthropology African Americans in Florida project, 1864-1998, bulk 1930-1980"],"collection_title_tesim":["USF Department of Anthropology African Americans in Florida project, 1864-1998, bulk 1930-1980"],"collection_ssim":["USF Department of Anthropology African Americans in Florida project, 1864-1998, bulk 1930-1980"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.) -- History -- 20th century"],"geogname_ssim":["Tampa (Fla.) -- History -- 20th century"],"creator_ssm":["University of South Florida. Department of Anthropology","University of South Florida. Department of Anthropology"],"creator_ssim":["University of South Florida. Department of Anthropology","University of South Florida. Department of Anthropology"],"creator_corpname_ssim":["University of South Florida. Department of Anthropology","University of South Florida. Department of Anthropology"],"creators_ssim":["University of South Florida. Department of Anthropology","University of South Florida. Department of Anthropology"],"places_ssim":["Tampa (Fla.) -- History -- 20th century"],"access_terms_ssm":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information."],"acqinfo_ssim":["University of South Florida Department of Anthropology","Donation"],"access_subjects_ssim":["African Americans -- Florida","Oral history"],"access_subjects_ssm":["African Americans -- Florida","Oral history"],"has_online_content_ssim":["false"],"extent_ssm":["6.67 Linear Feet","17 boxes"],"extent_tesim":["6.67 Linear Feet","17 boxes"],"genreform_ssim":["Oral history"],"date_range_isim":[1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998],"arrangement_html_tesm":["\u003cp\u003eOrganized into the following series:\u003c/p\u003e\n","\u003cp\u003e1) Research Materials\u003c/p\u003e\n","\u003cp\u003e2) Oral History Tape Transcripts\u003c/p\u003e\n","\u003cp\u003e3) News Clippings\u003c/p\u003e\n","\u003cp\u003e4) Photographs\u003c/p\u003e\n","\u003cp\u003e5) Correspondence\u003c/p\u003e\n","\u003cp\u003e6) Oversized Materials\u003c/p\u003e\n","\u003cp\u003e \nOrganized alphabetically or chronologically within each series.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Organized into the following series:","1) Research Materials","2) Oral History Tape Transcripts","3) News Clippings","4) Photographs","5) Correspondence","6) Oversized Materials"," \nOrganized alphabetically or chronologically within each series."],"bioghist_html_tesm":["\u003cp\u003eThis collection consists of materials gathered by the University of South Florida (USF) Department of Anthropology to support its African Americans in Florida research project (1993-1994). The project, which included a study of Central Avenue, Tampa's historic, African American business district, led to a number of public events and activities beginning in October 1994. The project was funded by the Florida Humanities Council, with additional support provided by the Tampa Bay History Center. USF Professors Susan Greenbaum, Ph.D. and Cheryl Rodriguez, Ph.D. contributed significantly to the project, along with former USF Anthropology student Geoffrey Mohlman, independent researcher Beverly Ward, and Ginger Barber. \u003c/p\u003e\n","\u003cp\u003eThe majority of materials compiled for the project originally were created by and collected for the Black History of Tampa Project (1977-1978), a collaboration of the Urban League of Hillsborough County and the Hillsborough County Museum. A federally funded initiative sponsored by the Comprehensive Employment and Training Act (CETA), project was directed by Otis R. Anthony. Other members of the project included Herbert Jones, Fred Beaton, Joyce Dyer, and Shirley Smith.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["This collection consists of materials gathered by the University of South Florida (USF) Department of Anthropology to support its African Americans in Florida research project (1993-1994). The project, which included a study of Central Avenue, Tampa's historic, African American business district, led to a number of public events and activities beginning in October 1994. The project was funded by the Florida Humanities Council, with additional support provided by the Tampa Bay History Center. USF Professors Susan Greenbaum, Ph.D. and Cheryl Rodriguez, Ph.D. contributed significantly to the project, along with former USF Anthropology student Geoffrey Mohlman, independent researcher Beverly Ward, and Ginger Barber. ","The majority of materials compiled for the project originally were created by and collected for the Black History of Tampa Project (1977-1978), a collaboration of the Urban League of Hillsborough County and the Hillsborough County Museum. A federally funded initiative sponsored by the Comprehensive Employment and Training Act (CETA), project was directed by Otis R. Anthony. Other members of the project included Herbert Jones, Fred Beaton, Joyce Dyer, and Shirley Smith."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eUSF Department of Anthropology African Americans in Florida Project, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["USF Department of Anthropology African Americans in Florida Project, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eComplete.\u003c/p\u003e","\u003cp\u003eList of Acronyms Used in the Finding Aid\u003c/p\u003e","\u003cp\u003eNAACP (National Association for the Advancement of Colored People)\nAAF (Army Air Forces)\nANT (Anthropology course prefix)\nHIS (History course prefix)\nWPA (Works Progress Administration)\nSMSA (Standard Modern Statistical Area)\nAME (African Methodist Episcopal [Church])\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Complete.","List of Acronyms Used in the Finding Aid","NAACP (National Association for the Advancement of Colored People)\nAAF (Army Air Forces)\nANT (Anthropology course prefix)\nHIS (History course prefix)\nWPA (Works Progress Administration)\nSMSA (Standard Modern Statistical Area)\nAME (African Methodist Episcopal [Church])"],"relatedmaterial_html_tesm":["\u003cp\u003eOtis R. Anthony collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.  \u003c/p\u003e\n","\u003cp\u003eOtis R. Anthony African Americans in Florida Oral History Project, USF Libraries Digital Collections, University of South Florida, Tampa, FL. \u003c/p\u003e\n","\u003cp\u003eJack B. Moore papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL. \u003c/p\u003e\n","\u003cp\u003eRaper, Arthur Franklin. A study of Negro life in Tampa: Made at the request of the Tampa Welfare League, the Tampa Urban League and the Tampa Young Men's Christian Association. Tampa, FL: 1927. [Also referred to as the \"Raper report\" or \"Mays report\"]\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Otis R. Anthony collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.  ","Otis R. Anthony African Americans in Florida Oral History Project, USF Libraries Digital Collections, University of South Florida, Tampa, FL. ","Jack B. Moore papers, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL. ","Raper, Arthur Franklin. A study of Negro life in Tampa: Made at the request of the Tampa Welfare League, the Tampa Urban League and the Tampa Young Men's Christian Association. Tampa, FL: 1927. [Also referred to as the \"Raper report\" or \"Mays report\"]"],"scopecontent_html_tesm":["\u003cp\u003eContains oral histories, photographs, newspaper clippings, and research materials focusing on African American history in Florida between 1930 and 1980, with an emphasis on Tampa, FL.\u0026#xA0; Such topics as African American-owned businesses in Tampa, Reconstruction, segregation, and the Civil Rights era are covered.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Contains oral histories, photographs, newspaper clippings, and research materials focusing on African American history in Florida between 1930 and 1980, with an emphasis on Tampa, FL.  Such topics as African American-owned businesses in Tampa, Reconstruction, segregation, and the Civil Rights era are covered."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of this collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/%C2%A0\"\u003ehttp://www.copyright.gov/\u003c/extref\u003efor more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/ for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ec01ca4df3d9a85533c49f326118798a\" label=\"Abstract\"\u003eResearch materials, including photographs, newspaper clippings, and oral history interviews, compiled by the University of South Florida (USF) Department of Anthropology to support its African Americans in Florida research project (1993-1994).\u003c/abstract\u003e"],"abstract_tesim":["Research materials, including photographs, newspaper clippings, and oral history interviews, compiled by the University of South Florida (USF) Department of Anthropology to support its African Americans in Florida research project (1993-1994)."],"names_coll_ssim":["University of South Florida. Department of Anthropology"],"names_ssim":["USF Libraries - Tampa Special Collections","University of South Florida. Department of Anthropology"],"corpname_ssim":["USF Libraries - Tampa Special Collections","University of South Florida. Department of Anthropology"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":557,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870863217024040960,"_root_":"2b0d7b1d43de4208737dc561","timestamp":"2026-07-16T09:29:59.570Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2b0d7b1d43de4208737dc561_aspace_6153"}},{"id":"dd38bff49c4e87e02dde1ee1_aspace_80071","type":"File","attributes":{"title":"Wilson, Sandra Helen","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/dd38bff49c4e87e02dde1ee1_aspace_80071#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_80071","ref_ssm":["aspace_80071","aspace_80071"],"id":"dd38bff49c4e87e02dde1ee1_aspace_80071","title_filing_ssi":"Wilson, Sandra Helen","title_ssm":["Wilson, Sandra Helen"],"title_tesim":["Wilson, Sandra Helen"],"normalized_title_ssm":["Wilson, Sandra Helen"],"text":["Wilson, Sandra Helen","Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","General Subject Files","Water - Women","Folder 21","/repositories/2/archival_objects/131111","box 271","folder 21"],"component_level_isim":[3],"parent_ids_ssim":["dd38bff49c4e87e02dde1ee1","dd38bff49c4e87e02dde1ee1_aspace_73692","dd38bff49c4e87e02dde1ee1_aspace_80050"],"parent_unittitles_ssm":["Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","General Subject Files","Water - Women"],"parent_unittitles_tesim":["Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","General Subject Files","Water - Women"],"parent_levels_ssm":["collection","Series","Box"],"unitid_ssm":["Folder 21","/repositories/2/archival_objects/131111"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":2981,"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 271","folder 21"],"_nest_path_":"/components#0/components#270/components#20","_nest_parent_":"dd38bff49c4e87e02dde1ee1_aspace_80050","_root_":"dd38bff49c4e87e02dde1ee1","_version_":1875482926083211264,"timestamp":"2026-09-05T09:18:17.355Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"dd38bff49c4e87e02dde1ee1","title_ssm":["Hampton Dunn collection"],"title_tesim":["Hampton Dunn collection"],"ead_ssi":"dd38bff49c4e87e02dde1ee1","unitdate_ssm":["1916-2002","1960-2002","Date acquired: 00/00/1981"],"unitdate_bulk_ssim":["1960-2002"],"unitdate_inclusive_ssm":["1916-2002"],"unitdate_other_ssim":["Date acquired: 00/00/1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1981-01","/repositories/2/resources/549"],"text":["MS-1981-01","/repositories/2/resources/549","Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002","Tampa (Fla.) -- History","Florida -- History","Ybor City (Tampa, Fla.)","Tampa (Fla.) -- Newspapers","Tampa (Fla.) -- Politics and government","Hillsborough County (Fla.) -- History","Florida -- History, Local","Dunn, Hampton -- Correspondence","Tampa (Fla.) -- Social life and customs","The collection is arranged alphabetically with a separate series for photographs. The cities, towns, and physical locations within Florida are arranged in the county in which they reside. For example, Tampa is listed under Hillsborough County.","Henry Hampton Dunn and his twin sister Hazel were born in Floral City, Florida on December 14, 1916. Dunn published his first article in 1932 as a Boy Scout correspondent for the Citrus County Chronicle. During his high school years, which he completed in Tampa, he wrote sports reviews for the  Tampa Tribune  and  Florida Times Union . He attended Mercer University in Macon, Georgia, University of Tampa in Florida and served as a public relations officer and war correspondent with the 12 th  Air Force during World War II. He left the service in November 1945 at the rank of major and with a Bronze Star.","Dunn joined the Tampa Daily Times as a full-time journalist in 1936. In 1946 he received the \"Best News Story Award\" from the Associated Press Association of Florida for his coverage of the Marjorie Kinnan Rawlings invasion of privacy trial.For two years Dunn served as a political commentator and news analyst for station WCKT-TV in Miami.  When he returned to Tampa, he joined the Peninsula Motor Club, an affiliate of the American Automobile Association, as an executive officer and later vice president.","Dunn edited AAA's monthly magazine,  Florida Explorer , and several other journals and newsletters including the  Sunland Tribune  (Tampa Historical Society) and  The Hub  (Rotary Club of Tampa).  His syndicated columns included \"Photouring Florida\" (began in 1966), \"Floridana,\" and \"Palm Tree Politics.\"  During his later years, he presented \"Hampton Dunn's Yesterdays\" – little histories of Florida events – on WTVT, Channel 13. Hampton belonged to many organizations, including the Tampa Historical Society, Florida Historical Society, and Historical Association of Southern Florida.  His talks to many historical and genealogical groups around the state earned him the affectionate title, \"Mr. Florida.\"","Hampton and his wife Charlotte Ruth Rawls Dunn were the parents of three children.  He died February 3, 2002.","Sources:","Berube, Rich.  \"Hampton Dunn Gift Brings Florida's History to Life.\"   Sunland Tribune   7 (November 1982): 65-67.","Camp, Paul.   Collecting Florida: The Hampton Dunn Collection and other Floridiana.  Tampa, FL: University of South Florida Libraries, 2006.","Note written by Paul Eugene Camp","Camp, Paul E.  Collecting Florida: The Hampton Dunn Collection and other Floridiana . Tampa, FL: University of South Florida, 2006. ","Dunn, Hampton.  Yesterday's Tampa . Miami, Fla: E.A. Seemann Pub, 1972.","Dunn, Hampton.  Hampton Dunn's History of Tampa Bay . Tampa, Fla: Southern Star Productions, 1992.","Only a Newspaper Guy: The Life and Times of Hampton Dunn . Inverness, Fla: The Society, 1995.","Dunn, Hampton.  Hampton Dunn Photouring Florida Collection . Tampa, Fla: University of South Florida, Tampa Library, 2000.","Dunn, Hampton, and Robert J. Kerstein.  Hampton Dunn Oral History Interview . Tampa, Fla: University of South Florida Tampa Library, 2005.","The collection consists of syndicated newspaper clippings, ephemera, correspondence, brochures, photographs, and articles written about the various places and people of Florida.","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 Historical Society","Florida. Governor (1917-1921 : Catts)","Dunn, Hampton (Henry Hampton), 1916-2002","Catts, Sidney Johnston, 1863-1936","English"],"unitid_tesim":["MS-1981-01","/repositories/2/resources/549"],"normalized_date_ssm":["1916-2002, Date acquired: 00/00/1981, bulk 1960-2002"],"normalized_title_ssm":["Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002"],"collection_title_tesim":["Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002"],"collection_ssim":["Hampton Dunn collection, 1916-2002, Date acquired: 00/00/1981, bulk 1960-2002"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.) -- History","Florida -- History","Ybor City (Tampa, Fla.)","Tampa (Fla.) -- Newspapers","Tampa (Fla.) -- Politics and government","Hillsborough County (Fla.) -- History"],"geogname_ssim":["Tampa (Fla.) -- History","Florida -- History","Ybor City (Tampa, Fla.)","Tampa (Fla.) -- Newspapers","Tampa (Fla.) -- Politics and government","Hillsborough County (Fla.) -- History"],"creator_ssm":["Dunn, Hampton (Henry Hampton), 1916-2002"],"creator_ssim":["Dunn, Hampton (Henry Hampton), 1916-2002"],"creator_persname_ssim":["Dunn, Hampton (Henry Hampton), 1916-2002"],"creators_ssim":["Dunn, Hampton (Henry Hampton), 1916-2002"],"places_ssim":["Tampa (Fla.) -- History","Florida -- History","Ybor City (Tampa, Fla.)","Tampa (Fla.) -- Newspapers","Tampa (Fla.) -- Politics and government","Hillsborough County (Fla.) -- 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":["Donation"],"access_subjects_ssim":["Florida -- History, Local","Dunn, Hampton -- Correspondence","Tampa (Fla.) -- Social life and customs"],"access_subjects_ssm":["Florida -- History, Local","Dunn, Hampton -- Correspondence","Tampa (Fla.) -- Social life and customs"],"has_online_content_ssim":["false"],"extent_ssm":["227.01 Linear Feet","452 boxes"],"extent_tesim":["227.01 Linear Feet","452 boxes"],"date_range_isim":[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],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged alphabetically with a separate series for photographs. The cities, towns, and physical locations within Florida are arranged in the county in which they reside. For example, Tampa is listed under Hillsborough County.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is arranged alphabetically with a separate series for photographs. The cities, towns, and physical locations within Florida are arranged in the county in which they reside. For example, Tampa is listed under Hillsborough County."],"bioghist_html_tesm":["\u003cp\u003eHenry Hampton Dunn and his twin sister Hazel were born in Floral City, Florida on December 14, 1916. Dunn published his first article in 1932 as a Boy Scout correspondent for the Citrus County Chronicle. During his high school years, which he completed in Tampa, he wrote sports reviews for the \u003cemph render=\"italic\"\u003eTampa Tribune\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eFlorida Times Union\u003c/emph\u003e. He attended Mercer University in Macon, Georgia, University of Tampa in Florida and served as a public relations officer and war correspondent with the 12\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Air Force during World War II. He left the service in November 1945 at the rank of major and with a Bronze Star.\u003c/p\u003e\n","\u003cp\u003eDunn joined the Tampa Daily Times as a full-time journalist in 1936. In 1946 he received the \"Best News Story Award\" from the Associated Press Association of Florida for his coverage of the Marjorie Kinnan Rawlings invasion of privacy trial.For two years Dunn served as a political commentator and news analyst for station WCKT-TV in Miami.\u0026#xA0; When he returned to Tampa, he joined the Peninsula Motor Club, an affiliate of the American Automobile Association, as an executive officer and later vice president.\u003c/p\u003e\n","\u003cp\u003eDunn edited AAA's monthly magazine, \u003cemph render=\"italic\"\u003eFlorida Explorer\u003c/emph\u003e, and several other journals and newsletters including the \u003cemph render=\"italic\"\u003eSunland Tribune \u003c/emph\u003e(Tampa Historical Society) and \u003cemph render=\"italic\"\u003eThe Hub\u003c/emph\u003e (Rotary Club of Tampa).\u0026#xA0; His syndicated columns included \"Photouring Florida\" (began in 1966), \"Floridana,\" and \"Palm Tree Politics.\"\u0026#xA0; During his later years, he presented \"Hampton Dunn's Yesterdays\" \u0026#x2013; little histories of Florida events \u0026#x2013; on WTVT, Channel 13. Hampton belonged to many organizations, including the Tampa Historical Society, Florida Historical Society, and Historical Association of Southern Florida.\u0026#xA0; His talks to many historical and genealogical groups around the state earned him the affectionate title, \"Mr. Florida.\"\u003c/p\u003e\n","\u003cp\u003eHampton and his wife Charlotte Ruth Rawls Dunn were the parents of three children.\u0026#xA0; He died February 3, 2002.\u003c/p\u003e\n","\u003cp\u003eSources:\u003c/p\u003e\n","\u003cp\u003eBerube, Rich.\u0026#xA0; \"Hampton Dunn Gift Brings Florida's History to Life.\"\u0026#xA0; \u003cemph render=\"italic\"\u003eSunland Tribune\u003c/emph\u003e\u0026#xA0; 7 (November 1982): 65-67.\u003c/p\u003e\n","\u003cp\u003eCamp, Paul.\u0026#xA0; \u003cemph render=\"italic\"\u003eCollecting Florida: The Hampton Dunn Collection and other Floridiana.\u003c/emph\u003e Tampa, FL: University of South Florida Libraries, 2006.\u003c/p\u003e\n","\u003cp\u003eNote written by Paul Eugene Camp\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Henry Hampton Dunn and his twin sister Hazel were born in Floral City, Florida on December 14, 1916. Dunn published his first article in 1932 as a Boy Scout correspondent for the Citrus County Chronicle. During his high school years, which he completed in Tampa, he wrote sports reviews for the  Tampa Tribune  and  Florida Times Union . He attended Mercer University in Macon, Georgia, University of Tampa in Florida and served as a public relations officer and war correspondent with the 12 th  Air Force during World War II. He left the service in November 1945 at the rank of major and with a Bronze Star.","Dunn joined the Tampa Daily Times as a full-time journalist in 1936. In 1946 he received the \"Best News Story Award\" from the Associated Press Association of Florida for his coverage of the Marjorie Kinnan Rawlings invasion of privacy trial.For two years Dunn served as a political commentator and news analyst for station WCKT-TV in Miami.  When he returned to Tampa, he joined the Peninsula Motor Club, an affiliate of the American Automobile Association, as an executive officer and later vice president.","Dunn edited AAA's monthly magazine,  Florida Explorer , and several other journals and newsletters including the  Sunland Tribune  (Tampa Historical Society) and  The Hub  (Rotary Club of Tampa).  His syndicated columns included \"Photouring Florida\" (began in 1966), \"Floridana,\" and \"Palm Tree Politics.\"  During his later years, he presented \"Hampton Dunn's Yesterdays\" – little histories of Florida events – on WTVT, Channel 13. Hampton belonged to many organizations, including the Tampa Historical Society, Florida Historical Society, and Historical Association of Southern Florida.  His talks to many historical and genealogical groups around the state earned him the affectionate title, \"Mr. Florida.\"","Hampton and his wife Charlotte Ruth Rawls Dunn were the parents of three children.  He died February 3, 2002.","Sources:","Berube, Rich.  \"Hampton Dunn Gift Brings Florida's History to Life.\"   Sunland Tribune   7 (November 1982): 65-67.","Camp, Paul.   Collecting Florida: The Hampton Dunn Collection and other Floridiana.  Tampa, FL: University of South Florida Libraries, 2006.","Note written by Paul Eugene Camp"],"prefercite_html_tesm":["\u003cp\u003eHampton Dunn collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Hampton Dunn collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eCamp, Paul E. \u003cemph render=\"italic\"\u003eCollecting Florida: The Hampton Dunn Collection and other Floridiana\u003c/emph\u003e. Tampa, FL: University of South Florida, 2006. \u003c/p\u003e\n","\u003cp\u003eDunn, Hampton. \u003cemph render=\"italic\"\u003eYesterday's Tampa\u003c/emph\u003e. Miami, Fla: E.A. Seemann Pub, 1972.\u003c/p\u003e\n","\u003cp\u003eDunn, Hampton. \u003cemph render=\"italic\"\u003eHampton Dunn's History of Tampa Bay\u003c/emph\u003e. Tampa, Fla: Southern Star Productions, 1992.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"italic\"\u003eOnly a Newspaper Guy: The Life and Times of Hampton Dunn\u003c/emph\u003e. Inverness, Fla: The Society, 1995.\u003c/p\u003e\n","\u003cp\u003eDunn, Hampton. \u003cemph render=\"italic\"\u003eHampton Dunn Photouring Florida Collection\u003c/emph\u003e. Tampa, Fla: University of South Florida, Tampa Library, 2000.\u003c/p\u003e\n","\u003cp\u003eDunn, Hampton, and Robert J. Kerstein. \u003cemph render=\"italic\"\u003eHampton Dunn Oral History Interview\u003c/emph\u003e. Tampa, Fla: University of South Florida Tampa Library, 2005.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Publications"],"relatedmaterial_tesim":["Camp, Paul E.  Collecting Florida: The Hampton Dunn Collection and other Floridiana . Tampa, FL: University of South Florida, 2006. ","Dunn, Hampton.  Yesterday's Tampa . Miami, Fla: E.A. Seemann Pub, 1972.","Dunn, Hampton.  Hampton Dunn's History of Tampa Bay . Tampa, Fla: Southern Star Productions, 1992.","Only a Newspaper Guy: The Life and Times of Hampton Dunn . Inverness, Fla: The Society, 1995.","Dunn, Hampton.  Hampton Dunn Photouring Florida Collection . Tampa, Fla: University of South Florida, Tampa Library, 2000.","Dunn, Hampton, and Robert J. Kerstein.  Hampton Dunn Oral History Interview . Tampa, Fla: University of South Florida Tampa Library, 2005."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of syndicated newspaper clippings, ephemera, correspondence, brochures, photographs, and articles written about the various places and people of Florida.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection consists of syndicated newspaper clippings, ephemera, correspondence, brochures, photographs, and articles written about the various places and people of Florida."],"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 Historical Society","Dunn, Hampton (Henry Hampton), 1916-2002"],"names_ssim":["USF Libraries - Tampa Special Collections","Florida Historical Society","Florida. 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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."],"_nest_path_":"/components#0/components#22/components#225","_nest_parent_":"c535959967939890c4a30b27_aspace_3923f361ecf2aafd7d77b8f119e14d80","_root_":"c535959967939890c4a30b27","_version_":1881465993006415872,"timestamp":"2026-11-10T10:16:34.681Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"c535959967939890c4a30b27","title_ssm":["Vertical files"],"title_tesim":["Vertical files"],"ead_ssi":"c535959967939890c4a30b27","unitdate_ssm":["1900-2005"],"unitdate_inclusive_ssm":["1900-2005"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["RD-1960-01","/repositories/2/resources/612"],"text":["RD-1960-01","/repositories/2/resources/612","Vertical files, 1900-2005","Florida -- Biography","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.","The biographical vertical files consist of articles from local publications including, but not limited to, the following: La Gaceta, The Tampa Tribune, The St. Petersburg Times and the Miami Herald. These files may contain feature length articles or obituary notices.","USF Libraries - Tampa Special Collections","Tampa Tribune (1895-2016) (Tampa, Fla.)","Florida Audubon Society","Greater Tampa Chamber of Commerce","Florida. 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Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"access_subjects_ssim":["Florida -- Biography"],"access_subjects_ssm":["Florida -- Biography"],"has_online_content_ssim":["false"],"extent_ssm":["39 Cubic Feet"],"extent_tesim":["39 Cubic Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"userestrict_html_tesm":["\u003cp\u003eNone.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_b751902f9471baf1c338df56dba5bba1\"\u003eThe biographical vertical files consist of articles from local publications including, but not limited to, the following: La Gaceta, The Tampa Tribune, The St. Petersburg Times and the Miami Herald. These files may contain feature length articles or obituary notices.\u003c/abstract\u003e"],"abstract_tesim":["The biographical vertical files consist of articles from local publications including, but not limited to, the following: La Gaceta, The Tampa Tribune, The St. Petersburg Times and the Miami Herald. These files may contain feature length articles or obituary notices."],"names_ssim":["USF Libraries - Tampa Special Collections","Tampa Tribune (1895-2016) (Tampa, Fla.)","Florida Audubon Society","Greater Tampa Chamber of Commerce","Florida. Governor (1917-1921 : Catts)","Catts, Sidney Johnston, 1863-1936"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Tampa Tribune (1895-2016) (Tampa, Fla.)","Florida Audubon Society","Greater Tampa Chamber of Commerce","Florida. 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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"],"total_component_count_is":3281,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870863599522545664,"_root_":"5704cc28d5311ad5f4edd43f","timestamp":"2026-07-16T09:36:04.168Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/5704cc28d5311ad5f4edd43f_aspace_d3386377c15839e654ac77cec0a4ecf4"}},{"id":"1ac81ef5e6623d4b183a7c01_aspace_81791","type":"File","attributes":{"title":"Wilson, Sarah (no dates), 1958","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1ac81ef5e6623d4b183a7c01_aspace_81791#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_81791","ref_ssm":["aspace_81791","aspace_81791"],"id":"1ac81ef5e6623d4b183a7c01_aspace_81791","title_filing_ssi":"Wilson, Sarah (no dates)","title_ssm":["Wilson, Sarah (no dates)"],"title_tesim":["Wilson, Sarah (no dates)"],"unitdate_other_ssim":["1958"],"normalized_date_ssm":["1958"],"normalized_title_ssm":["Wilson, Sarah (no dates), 1958"],"text":["Wilson, Sarah (no dates), 1958","John MacKay Shaw Collection, 1737-2007","Literary, 1737-2007","Shaw Bibliography Notes and Source Materials, 1805-2007","Folder 25","/repositories/10/archival_objects/174808","1 item","box 71","folder 25"],"component_level_isim":[3],"parent_ids_ssim":["1ac81ef5e6623d4b183a7c01","1ac81ef5e6623d4b183a7c01_aspace_79207","1ac81ef5e6623d4b183a7c01_aspace_79208"],"parent_unittitles_ssm":["John MacKay Shaw Collection, 1737-2007","Literary, 1737-2007","Shaw Bibliography Notes and Source Materials, 1805-2007"],"parent_unittitles_tesim":["John MacKay Shaw Collection, 1737-2007","Literary, 1737-2007","Shaw Bibliography Notes and Source Materials, 1805-2007"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["Folder 25","/repositories/10/archival_objects/174808"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["John MacKay Shaw Collection, 1737-2007"],"physdesc_tesim":["1 item"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":2603,"parent_access_restrict_tesm":["Collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"parent_access_terms_tesm":["Copyright owned by Florida State University.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"containers_ssim":["box 71","folder 25"],"_nest_path_":"/components#1/components#0/components#2442","_nest_parent_":"1ac81ef5e6623d4b183a7c01_aspace_79208","_root_":"1ac81ef5e6623d4b183a7c01","_version_":1870857602626224128,"timestamp":"2026-07-16T08:00:45.077Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1ac81ef5e6623d4b183a7c01","title_ssm":["John MacKay Shaw Collection"],"title_tesim":["John MacKay Shaw Collection"],"ead_ssi":"1ac81ef5e6623d4b183a7c01","unitdate_ssm":["1737-2007"],"unitdate_inclusive_ssm":["1737-2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2008-006","/repositories/10/resources/1390"],"text":["MSS 2008-006","/repositories/10/resources/1390","John MacKay Shaw Collection, 1737-2007","Bibliography","Biography","Book collecting--United States.","Children","Children's poetry","Collectors and collecting.","Letters--20th century","Poets, American--20th century","Publishers and publishing.","Writing.","Autographs.","Advertising fliers","Pamphlets","Poetry","Genealogy","Manuscripts","Books","Clippings (Books, newspapers, etc.)","Correspondence","Drawing","Financial Records","Illustrations","Lecture notes","Lectures.","Maps","Newsletters","Obituaries.","Photographs","Postcards.","Programs","Reports","Slides.","Collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","TABLE OF CONTENTS FOR MAJOR SERIES, WITH BOX NUMBER LOCATIONS\n Shaw Life: Boxes 1-11B. Arranged alphabetically within each subseries.\n Shaw Bibliography Notes and Source Materials: Boxes 12-72, 59, 73-74, 117-119. Arranged alphabetically by author's name.\n Shaw Writings: Boxes 75-82. Arranged alphabetically by title (not strictly in order).\n Theme Materials in Childhood in Poetry: Boxes 90-93. Arranged alphabetically within each theme subseries.\n Autographed Materials: Boxes 83-89, 94-95. Arranged alphabetically by name of writer.\n Folders in the Shaw Bibliography Notes and Source Materials series contain detailed lists of the contents. Folder lists for the Autographed Materials, Shaw Correspondence, Themes, and other series will be created in the future.","John Shaw was born in Glasgow, Scotland, on May 15, 1897. In 1911, he immigrated with his mother and two sisters to Philadelphia where his father had already found work and a place for the family to live. He quit school at the age of 14 and went to work as an errand boy at John Wanamaker's Department Store. Later he took stenographic courses at the Wharton Business School. He enlisted in the Army in 1917 and was stationed in France with the Ambulance Corp during World War I.\n When he returned to the U.S. in 1919 he became part of the steno pool for Mitten Management, which operated the transportation system in Philadelphia. Thomas Mitten, the President of the company, drew him out of the pool to be his personal secretary. His interest in people led Shaw to write fliers that were distributed to passengers on the trolleys and trains, his first public relations job. After Mr. Mitten's death, Shaw went to work for the Bell Telephone System, and remained a public relations executive with that company until he retired in 1959. Part of this job was to serve as liaison for the company in the production of the weekly classical music radio program \"The Bell Telephone Hour.\" Based on research he conducted, he also redesigned the Yellow Pages for New York City. He changed his name legally to John MacKay Shaw to distinguish himself from all the other John Shaws he had discovered. He chose MacKay in honor of his mother's uncle, the scholar, navigator, and teacher John MacKay of Stornoway, Isle of Lewis, Scotland.\n When his two children were young, Shaw read and sang to them often. He recited poetry, sang the old Glasgow drinking songs, Gilbert and Sullivan, and songs of the Gay Nineties. However, the children wanted to hear poems about them, not about other children. He promised to write them if they would provide the subjects for him to write about. Each year between 1933 and 1937, he collected the poems he had written that year and had them printed in pamphlets which he sent to friends at Christmas. Too soon the children outgrew the pleasures of poetry, but Shaw never did. Realizing that other fathers must have written poems for their children, he went looking for them in the second-hand bookstores. Thus began his collection of Childhood in Poetry.\n For thirty years, while continuing to work for the Bell System, John MacKay Shaw haunted the second-hand bookstores of Great Britain and the United States, poring over catalogs in the evenings, searching out and purchasing rare and first editions of poetry for, about, and by children. He studied the books, read and wrote about them and their authors, and discoursed extensively with other collectors and scholars. He became a member of the Grolier Club and the American Library Association.\n Upon retirement in 1959, Shaw gave his collection of almost 6,000 volumes to Florida State University (FSU) Libraries. For the next 25 years, Shaw went to the library daily to study, write, and talk about his books. He continued adding to his collection. FSU provided secretarial support. Jim Birchfield helped him as curator; later Fred Korn served in that capacity. Shaw was an active member of the St. Andrews Society, the Friends of the FSU Libraries, and the Presbyterian Church. He initiated the FSU Libraries' Scottish Collection in 1975 by a donation of 100 of his books. Other Scots donated books and ephemera too, not only to the Scottish Collection but to Childhood in Poetry, including former director of the New York Public Library, George Fraser Black. In 1967 and 1969, the Friends of the FSU Libraries published two hardcover illustrated volumes of the poems Shaw had written for his children: T he Things I Want: Poems for Two Children  (1967) and  Zumpin, More Poems for Two Children  (1969).\n All during his collecting years, as he discovered new material, Shaw typed information about it into the pages of his notebooks. He collected catalogs, articles, ads, and items other than reading material as well-- anything that related to childhood and poetry. He stored non-book items in labeled envelopes and folders as well as in his notebooks, and even in the books themselves. These items and the notes he kept for each book provided the source material for his 11-volume annotated bibliography,  Childhood in Poetry , which includes a keyword index to the poems as well. In addition to scholarly journal articles, Shaw published several monographs covering various categories of authors. He also gave talks to professional librarians and English teachers around the U.S. and read to children in the local schools.\n On the recommendation of Jim Walters of FSU's Department of Child Development, the FSU faculty awarded John MacKay Shaw the Doctor of Humane Letters degree on May 24, 1972. Shaw died in Tallahassee, FL on March 15, 1984.","John MacKay Shaw, in anticipation of his retirement in the late 1950s, sought a repository where he could continue to work on his Childhood in Poetry Collection and collect materials related to the building of that collection. Jacqueline Dupont, Florida State University alumna and friend of his daughter Cathmar, suggested FSU. In 1959, 6,000 volumes of the Childhood in Poetry Collection, along with its collector, came to FSU.","Some books from the John M. Shaw collection are available through the  FSU Digital Library .","In 1997, under the supervision of librarian Kathy Shelfer, students began organizing the piles, folders, and envelopes of loose materials that Shaw collected. These materials included articles, catalogs, serials, programs, and other items, as well as the notes Shaw wrote about the books and their authors. Under her supervision, students began making folders headed by authors' names and a few other headings Shaw had used. Cathmar Prange, John Shaw's daughter, assisted during the winter of 1997-98.\n In the winters of 1998-2000, Prange made folders and lists of the Shaw Life materials, writings by others, and his correspondence. Debra Rouse, a Special Collections Visiting Librarian, removed materials that Shaw had inserted in books, placed them in archival envelopes, and labeled them with the author, title of the item, and the title of the book in which they were discovered.\n In 2001, Shaw Notes materials were removed from non-archival envelopes and pam-binders, and filed in author folders. Prange, assisted by Garnett Avant, a Special Collections staff member, did minor preservation tasks (photocopying, stapling and taping) and sorted materials, copied labels made by Shaw into descriptive lists of individual items, and placed the items in appropriate folders.  She continued this process through 2004, adding to the lists and folders the materials that had been placed in envelopes. In 2003-2004, Delia Tam, a part-time retired library staff member, reviewed materials in the Shaw Notes boxes for typos and inconsistencies between Prange's lists and the box contents. Tam also shifted materials in boxes and on the box lists to accommodate everything that had been added since 1997.\n In 2004, Prange continued organizing and preparing detailed lists of the Shaw Notes folders, which was completed in 2005. In sorting these bibliography and source materials, she found items that could not be attributed to any particular author whose name Shaw had used as a heading in his original author arrangement scheme. The subjects of these items fell into six categories or themes: bibliography, biography, children, collecting, publishing, and writing. These themes, evident throughout the collection, became the headings for folders of non-author items. During the winter of 2004-05, she solved most of the problems that Tam had noted by rewriting and/or reorganizing materials in the Shaw Notes folders.\n From 2005-2007, Prange and Avant created a system for removal and tracking of additional items left in books, a process that continued through 2008. From 2007-2009, Prange completed and revised the storage and listing of Shaw Life materials, writings by others, and his correspondence begun in 2000, and wrote the finding aid's front matter. She, Altman, and graduate assistant Ginger H. Williams determined the intellectual arrangement of the collection. From 2008 to 2009, Altman and Williams created the EAD finding aid in NoteTab.","Wisconsin Historical Society, Madison, WI, USA. Three boxes of papers and one 2-page manuscript, including Bell System speeches, articles, reports and other papers, 1930-1959. Subjects discussed include public attitudes and corporate image, rate-making and governmental regulations, and marketing and market research.\n Temple University Library in Philadelphia, PA, USA. John MacKay Shaw's Mitten Management correspondence, news items, and \"Service Talks\" from 1919-1929, and his biography of transportation industry magnate Thomas Mitten.\n Pennsylvania State University Labor Collection, State College, PA, USA. Union Dues Records of Neil Shaw, father of John MacKay Shaw.","The John MacKay Shaw Collection, housed at the Florida State University Libraries, includes over 22,400 books in the Childhood in Poetry Collection and over 46 linear feet of other materials that document the personal, business, and collecting activities of John MacKay Shaw, an internationally-known book collector. The Childhood in Poetry Collection is one of the foremost repositories of the poetry of childhood. It includes the books by, for, and about children, and additional materials he collected relating to the themes (bibliography, biography, children, collecting, publication, and writing) of the collection.\n While the emphasis of the John MacKay Shaw Collection is on poetry and children, it also contains the collector's own notes and correspondence, as well as original drawings, proof sheets, catalogs, and other materials assembled during his many years of research. In these materials as well as in the books, history, sociology, music and theatre, art and education are well represented, with emphasis on the Victorian era.\n Significant authors and poets documented in the Collection include Alfred Lord Tennyson, William Blake, Robert and Elizabeth Barrett Browning, Robert Burns, Lewis Carroll, Eugene Field, Rudyard Kipling, Walter de la Mare, A.A. Milne, Theodor Geisel, Charles and Mary Lamb, James Whitcomb Riley, Sir Walter Scott, Robert Louis Stevenson, Isaac Watts, and William B. Yeats.\n The John MacKay Shaw Collection consists of the Childhood in Poetry Collection and other materials he collected that document the books and poets and relate to the six themes that are evident throughout the Collection: bibliography, biography, children, collecting, publishing, and writing. These additional materials are organized into several series and subseries documenting the career of this collector. The Shaw Life series comprises biography, business files, church and education materials, correspondence, and personal files; Professional Files contain Shaw Correspondence and the Collection's History and Operation; Literary Materials include Shaw Bibliography Notes and Source Materials, Theme Materials in Childhood in Poetry, Shaw Writings, Autographed Materials, and Writings by Others who used the Shaw Collection; Promotional Materials include catalogs and advertisements; Other Printed Materials comprise magazines, catalogs, and newspaper articles; Audiovisual Materials contain films, photographs, and recordings. Additional materials include artwork, memorabilia, and the books in the Childhood in Poetry Collection.","Copyright owned by Florida State University.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","The John MacKay Shaw Collection consists of the Childhood in Poetry Collection and other materials he collected that relate to the six themes that are evident throughout the Collection: bibliography, biography, children, collecting, publishing, and writing. These other materials include articles, audiovisual materials, biographical materials, catalogs, correspondence, literary materials, notes, photographs, programs, and publications documenting his personal, business, and collecting activities.","FSU Special Collections \u0026 Archives","Shaw, John MacKay, 1897-1984","Aldrich, Thomas Bailey, 1836-1907.","Barton, Bernard, 1784-1849","Belloc, Hilaire, 1870-1953","Bewick, Thomas, 1753-1828","Blake, William, 1757-1827","Browning, Elizabeth Barrett, 1806-1861","Browning, Robert, 1812-1889","Bryant, William Cullen, 1794-1878","Burns, Robert, 1759-1796","Carleton, William, 1794-1869","Carman, Bliss, 1861-1929","Carroll, Lewis, 1832-1898","Cory, Fanny Y","Cowper, William, 1731-1800","Daly, T. A. (Thomas Augustine), 1871-1948","Dalziel, George, 1815-1902","De La Mare, Walter, 1873-1956","Dickinson, Emily, 1830-1886","Dodge, Mary Mapes, 1830-1905","Douglas, Lord Alfred Bruce, 1870-1945","Drinkwater, John, 1832-1937","Dunbar, Paul Laurence, 1872-1906","Eliot, Ebenezer, 1781-1849","Farjeon, Eleanor, 1881-1965","Field, Eugene, 1850-1895","Fyleman, Rose, 1877-1957","Gale, Norman R. (Norman Rowland), 1862-1942","Geisel, Theodor Seuss, 1904-1991","Gilbert, W. S. (William Schwenck), 1836-1911","Graham, Stephen, 1884-1975","Grahame, Kenneth, 1859-1932","Graves, Robert, 1895-1985","Gray, Thomas, 1716-1771","Greenaway, Kate, 1846-1901","Guest, Edgar A. (Edgar Albert), 1881-1959","Hemans, Mrs., 1793-1835","Herbert, A. P. (Alan Patrick), 1890-1971","Herford, Oliver, 1863-1935","Holmes, Oliver Wendell, 1809-1894","Hood, Thomas, The Elder, 1799-1845","Housman, A. E. (Alfred Edward), 1859-1936","Howitt, Mary, 1799-1888","Hunt, James Henry Leigh, 1784-1859","Johnson, Burges, 1877-1963","Keats, John, 1795-1821","Kerlan, Irwin, 1912-1963","Kingsley, Charles, 1819-1875","Kipling, Rudyard, 1865-1936","Lamb, Charles, 1775-1834","Lang, Andrew, 1844-1912","Larcom, Lucy, 1824-1893","Lear, Edward, 1812-1888","Levertov, Denise, 1923-1997","Lindsay, Vachel, 1879-1931","Locker-Lampson, Frederick, 1821-1895","Longfellow, Henry Wadsworth, 1807-1882","Lowell, James Russell, 1819-1891","Macdiarmid, Hugh, 1892-1978","Macdonald, George 1824-1905","Mcginley, Phyllis, 1905-1978","MacGregor, Archie","Masefield, John, 1878-1967","Mayfield, John","Millay, Edna St. Vincent, 1892-1950","Milne, A.A., 1882-1956","Montgomery, James, 1771-1854","Morley, Christopher, 1890-1959","Nash, Ogden, 1902-1971","Noyes, Alfred, 1880-1958","Phillips, George","Pitter, Ruth, 1897-1992","Potter, Beatrix, 1866-1943","Quarles, Francis, 1592-1644","Wiggins, Laura Elizabeth Richards, 1886-1988","Riley, James Whitcomb, 1849-1916","Rossetti, Christina Georgina, 1830-1894","Rossetti, Dante Gabriel, 1828-1882","Russell, George William \"A.E.\"","Saxe, John Godfrey, 1818-1887","Scollard, Clinton, 1860-1932","Scott, Walter, 1771-1832","Sendak, Maurice, 1928-","Sigourney, Dora Sigerson, 1868-1918","Southey, Robert, 1774-1843","Stevenson, Robert Louis, 1850-1894","Tabb, John B. (John Banister), 1845-1909","Tennyson, Alfred, 1809-1892","Thackeray, William Makepeace, 1811-1863","Watts, Isaac, 1674-1748","Whittier, John Greenleaf, 1807-1892","Wordsworth, William, 1770-1850","Yeats, W. B. (William Butler), 1865-1939","English"],"unitid_tesim":["MSS 2008-006","/repositories/10/resources/1390"],"normalized_date_ssm":["1737-2007"],"normalized_title_ssm":["John MacKay Shaw Collection, 1737-2007"],"collection_title_tesim":["John MacKay Shaw Collection, 1737-2007"],"collection_ssim":["John MacKay Shaw Collection, 1737-2007"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"creator_ssm":["Shaw, John MacKay, 1897-1984"],"creator_ssim":["Shaw, John MacKay, 1897-1984"],"creator_persname_ssim":["Shaw, John MacKay, 1897-1984"],"creators_ssim":["Shaw, John MacKay, 1897-1984"],"access_terms_ssm":["Copyright owned by Florida State University.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"access_subjects_ssim":["Bibliography","Biography","Book collecting--United States.","Children","Children's poetry","Collectors and collecting.","Letters--20th century","Poets, American--20th century","Publishers and publishing.","Writing.","Autographs.","Advertising fliers","Pamphlets","Poetry","Genealogy","Manuscripts","Books","Clippings (Books, newspapers, etc.)","Correspondence","Drawing","Financial Records","Illustrations","Lecture notes","Lectures.","Maps","Newsletters","Obituaries.","Photographs","Postcards.","Programs","Reports","Slides."],"access_subjects_ssm":["Bibliography","Biography","Book collecting--United States.","Children","Children's poetry","Collectors and collecting.","Letters--20th century","Poets, American--20th century","Publishers and publishing.","Writing.","Autographs.","Advertising fliers","Pamphlets","Poetry","Genealogy","Manuscripts","Books","Clippings (Books, newspapers, etc.)","Correspondence","Drawing","Financial Records","Illustrations","Lecture notes","Lectures.","Maps","Newsletters","Obituaries.","Photographs","Postcards.","Programs","Reports","Slides."],"has_online_content_ssim":["false"],"extent_ssm":["69.00 Linear Feet"],"extent_tesim":["69.00 Linear Feet"],"genreform_ssim":["Manuscripts","Books","Clippings (Books, newspapers, etc.)","Correspondence","Drawing","Financial Records","Illustrations","Lecture notes","Lectures.","Maps","Newsletters","Obituaries.","Photographs","Postcards.","Programs","Reports","Slides."],"date_range_isim":[1737,1738,1739,1740,1741,1742,1743,1744,1745,1746,1747,1748,1749,1750,1751,1752,1753,1754,1755,1756,1757,1758,1759,1760,1761,1762,1763,1764,1765,1766,1767,1768,1769,1770,1771,1772,1773,1774,1775,1776,1777,1778,1779,1780,1781,1782,1783,1784,1785,1786,1787,1788,1789,1790,1791,1792,1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"arrangement_html_tesm":["\u003cp\u003eTABLE OF CONTENTS FOR MAJOR SERIES, WITH BOX NUMBER LOCATIONS\n\u003cbr\u003e\u003cbr\u003eShaw Life: Boxes 1-11B. Arranged alphabetically within each subseries.\n\u003cbr\u003e\u003cbr\u003eShaw Bibliography Notes and Source Materials: Boxes 12-72, 59, 73-74, 117-119. Arranged alphabetically by author's name.\n\u003cbr\u003e\u003cbr\u003eShaw Writings: Boxes 75-82. Arranged alphabetically by title (not strictly in order).\n\u003cbr\u003e\u003cbr\u003eTheme Materials in Childhood in Poetry: Boxes 90-93. Arranged alphabetically within each theme subseries.\n\u003cbr\u003e\u003cbr\u003eAutographed Materials: Boxes 83-89, 94-95. Arranged alphabetically by name of writer.\n\u003cbr\u003e\u003cbr\u003eFolders in the Shaw Bibliography Notes and Source Materials series contain detailed lists of the contents. Folder lists for the Autographed Materials, Shaw Correspondence, Themes, and other series will be created in the future.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["TABLE OF CONTENTS FOR MAJOR SERIES, WITH BOX NUMBER LOCATIONS\n Shaw Life: Boxes 1-11B. Arranged alphabetically within each subseries.\n Shaw Bibliography Notes and Source Materials: Boxes 12-72, 59, 73-74, 117-119. Arranged alphabetically by author's name.\n Shaw Writings: Boxes 75-82. Arranged alphabetically by title (not strictly in order).\n Theme Materials in Childhood in Poetry: Boxes 90-93. Arranged alphabetically within each theme subseries.\n Autographed Materials: Boxes 83-89, 94-95. Arranged alphabetically by name of writer.\n Folders in the Shaw Bibliography Notes and Source Materials series contain detailed lists of the contents. Folder lists for the Autographed Materials, Shaw Correspondence, Themes, and other series will be created in the future."],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["John Shaw was born in Glasgow, Scotland, on May 15, 1897. In 1911, he immigrated with his mother and two sisters to Philadelphia where his father had already found work and a place for the family to live. He quit school at the age of 14 and went to work as an errand boy at John Wanamaker's Department Store. Later he took stenographic courses at the Wharton Business School. He enlisted in the Army in 1917 and was stationed in France with the Ambulance Corp during World War I.\n When he returned to the U.S. in 1919 he became part of the steno pool for Mitten Management, which operated the transportation system in Philadelphia. Thomas Mitten, the President of the company, drew him out of the pool to be his personal secretary. His interest in people led Shaw to write fliers that were distributed to passengers on the trolleys and trains, his first public relations job. After Mr. Mitten's death, Shaw went to work for the Bell Telephone System, and remained a public relations executive with that company until he retired in 1959. Part of this job was to serve as liaison for the company in the production of the weekly classical music radio program \"The Bell Telephone Hour.\" Based on research he conducted, he also redesigned the Yellow Pages for New York City. He changed his name legally to John MacKay Shaw to distinguish himself from all the other John Shaws he had discovered. He chose MacKay in honor of his mother's uncle, the scholar, navigator, and teacher John MacKay of Stornoway, Isle of Lewis, Scotland.\n When his two children were young, Shaw read and sang to them often. He recited poetry, sang the old Glasgow drinking songs, Gilbert and Sullivan, and songs of the Gay Nineties. However, the children wanted to hear poems about them, not about other children. He promised to write them if they would provide the subjects for him to write about. Each year between 1933 and 1937, he collected the poems he had written that year and had them printed in pamphlets which he sent to friends at Christmas. Too soon the children outgrew the pleasures of poetry, but Shaw never did. Realizing that other fathers must have written poems for their children, he went looking for them in the second-hand bookstores. Thus began his collection of Childhood in Poetry.\n For thirty years, while continuing to work for the Bell System, John MacKay Shaw haunted the second-hand bookstores of Great Britain and the United States, poring over catalogs in the evenings, searching out and purchasing rare and first editions of poetry for, about, and by children. He studied the books, read and wrote about them and their authors, and discoursed extensively with other collectors and scholars. He became a member of the Grolier Club and the American Library Association.\n Upon retirement in 1959, Shaw gave his collection of almost 6,000 volumes to Florida State University (FSU) Libraries. For the next 25 years, Shaw went to the library daily to study, write, and talk about his books. He continued adding to his collection. FSU provided secretarial support. Jim Birchfield helped him as curator; later Fred Korn served in that capacity. Shaw was an active member of the St. Andrews Society, the Friends of the FSU Libraries, and the Presbyterian Church. He initiated the FSU Libraries' Scottish Collection in 1975 by a donation of 100 of his books. Other Scots donated books and ephemera too, not only to the Scottish Collection but to Childhood in Poetry, including former director of the New York Public Library, George Fraser Black. In 1967 and 1969, the Friends of the FSU Libraries published two hardcover illustrated volumes of the poems Shaw had written for his children: T he Things I Want: Poems for Two Children  (1967) and  Zumpin, More Poems for Two Children  (1969).\n All during his collecting years, as he discovered new material, Shaw typed information about it into the pages of his notebooks. He collected catalogs, articles, ads, and items other than reading material as well-- anything that related to childhood and poetry. He stored non-book items in labeled envelopes and folders as well as in his notebooks, and even in the books themselves. These items and the notes he kept for each book provided the source material for his 11-volume annotated bibliography,  Childhood in Poetry , which includes a keyword index to the poems as well. In addition to scholarly journal articles, Shaw published several monographs covering various categories of authors. He also gave talks to professional librarians and English teachers around the U.S. and read to children in the local schools.\n On the recommendation of Jim Walters of FSU's Department of Child Development, the FSU faculty awarded John MacKay Shaw the Doctor of Humane Letters degree on May 24, 1972. Shaw died in Tallahassee, FL on March 15, 1984."],"custodhist_html_tesm":["\u003cp\u003eJohn MacKay Shaw, in anticipation of his retirement in the late 1950s, sought a repository where he could continue to work on his Childhood in Poetry Collection and collect materials related to the building of that collection. Jacqueline Dupont, Florida State University alumna and friend of his daughter Cathmar, suggested FSU. In 1959, 6,000 volumes of the Childhood in Poetry Collection, along with its collector, came to FSU.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["John MacKay Shaw, in anticipation of his retirement in the late 1950s, sought a repository where he could continue to work on his Childhood in Poetry Collection and collect materials related to the building of that collection. Jacqueline Dupont, Florida State University alumna and friend of his daughter Cathmar, suggested FSU. In 1959, 6,000 volumes of the Childhood in Poetry Collection, along with its collector, came to FSU."],"originalsloc_html_tesm":["\u003cp\u003eSome books from the John M. Shaw collection are available through the \u003cextref href=\"http://fsu.digital.flvc.org/islandora/object/fsu%3Adigital_library\"\u003eFSU Digital Library\u003c/extref\u003e.\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Some books from the John M. Shaw collection are available through the  FSU Digital Library ."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], John MacKay Shaw Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2008-006\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], John MacKay Shaw Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2008-006"],"processinfo_html_tesm":["\u003cp\u003eIn 1997, under the supervision of librarian Kathy Shelfer, students began organizing the piles, folders, and envelopes of loose materials that Shaw collected. These materials included articles, catalogs, serials, programs, and other items, as well as the notes Shaw wrote about the books and their authors. Under her supervision, students began making folders headed by authors' names and a few other headings Shaw had used. Cathmar Prange, John Shaw's daughter, assisted during the winter of 1997-98.\n\u003cbr\u003e\u003cbr\u003eIn the winters of 1998-2000, Prange made folders and lists of the Shaw Life materials, writings by others, and his correspondence. Debra Rouse, a Special Collections Visiting Librarian, removed materials that Shaw had inserted in books, placed them in archival envelopes, and labeled them with the author, title of the item, and the title of the book in which they were discovered.\n\u003cbr\u003e\u003cbr\u003eIn 2001, Shaw Notes materials were removed from non-archival envelopes and pam-binders, and filed in author folders. Prange, assisted by Garnett Avant, a Special Collections staff member, did minor preservation tasks (photocopying, stapling and taping) and sorted materials, copied labels made by Shaw into descriptive lists of individual items, and placed the items in appropriate folders.\u0026#xA0; She continued this process through 2004, adding to the lists and folders the materials that had been placed in envelopes. In 2003-2004, Delia Tam, a part-time retired library staff member, reviewed materials in the Shaw Notes boxes for typos and inconsistencies between Prange's lists and the box contents. Tam also shifted materials in boxes and on the box lists to accommodate everything that had been added since 1997.\n\u003cbr\u003e\u003cbr\u003eIn 2004, Prange continued organizing and preparing detailed lists of the Shaw Notes folders, which was completed in 2005. In sorting these bibliography and source materials, she found items that could not be attributed to any particular author whose name Shaw had used as a heading in his original author arrangement scheme. The subjects of these items fell into six categories or themes: bibliography, biography, children, collecting, publishing, and writing. These themes, evident throughout the collection, became the headings for folders of non-author items. During the winter of 2004-05, she solved most of the problems that Tam had noted by rewriting and/or reorganizing materials in the Shaw Notes folders.\n\u003cbr\u003e\u003cbr\u003eFrom 2005-2007, Prange and Avant created a system for removal and tracking of additional items left in books, a process that continued through 2008. From 2007-2009, Prange completed and revised the storage and listing of Shaw Life materials, writings by others, and his correspondence begun in 2000, and wrote the finding aid's front matter. She, Altman, and graduate assistant Ginger H. Williams determined the intellectual arrangement of the collection. From 2008 to 2009, Altman and Williams created the EAD finding aid in NoteTab.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 1997, under the supervision of librarian Kathy Shelfer, students began organizing the piles, folders, and envelopes of loose materials that Shaw collected. These materials included articles, catalogs, serials, programs, and other items, as well as the notes Shaw wrote about the books and their authors. Under her supervision, students began making folders headed by authors' names and a few other headings Shaw had used. Cathmar Prange, John Shaw's daughter, assisted during the winter of 1997-98.\n In the winters of 1998-2000, Prange made folders and lists of the Shaw Life materials, writings by others, and his correspondence. Debra Rouse, a Special Collections Visiting Librarian, removed materials that Shaw had inserted in books, placed them in archival envelopes, and labeled them with the author, title of the item, and the title of the book in which they were discovered.\n In 2001, Shaw Notes materials were removed from non-archival envelopes and pam-binders, and filed in author folders. Prange, assisted by Garnett Avant, a Special Collections staff member, did minor preservation tasks (photocopying, stapling and taping) and sorted materials, copied labels made by Shaw into descriptive lists of individual items, and placed the items in appropriate folders.  She continued this process through 2004, adding to the lists and folders the materials that had been placed in envelopes. In 2003-2004, Delia Tam, a part-time retired library staff member, reviewed materials in the Shaw Notes boxes for typos and inconsistencies between Prange's lists and the box contents. Tam also shifted materials in boxes and on the box lists to accommodate everything that had been added since 1997.\n In 2004, Prange continued organizing and preparing detailed lists of the Shaw Notes folders, which was completed in 2005. In sorting these bibliography and source materials, she found items that could not be attributed to any particular author whose name Shaw had used as a heading in his original author arrangement scheme. The subjects of these items fell into six categories or themes: bibliography, biography, children, collecting, publishing, and writing. These themes, evident throughout the collection, became the headings for folders of non-author items. During the winter of 2004-05, she solved most of the problems that Tam had noted by rewriting and/or reorganizing materials in the Shaw Notes folders.\n From 2005-2007, Prange and Avant created a system for removal and tracking of additional items left in books, a process that continued through 2008. From 2007-2009, Prange completed and revised the storage and listing of Shaw Life materials, writings by others, and his correspondence begun in 2000, and wrote the finding aid's front matter. She, Altman, and graduate assistant Ginger H. Williams determined the intellectual arrangement of the collection. From 2008 to 2009, Altman and Williams created the EAD finding aid in NoteTab."],"relatedmaterial_html_tesm":["\u003cp\u003eWisconsin Historical Society, Madison, WI, USA. Three boxes of papers and one 2-page manuscript, including Bell System speeches, articles, reports and other papers, 1930-1959. Subjects discussed include public attitudes and corporate image, rate-making and governmental regulations, and marketing and market research.\n\u003cbr\u003e\u003cbr\u003eTemple University Library in Philadelphia, PA, USA. John MacKay Shaw's Mitten Management correspondence, news items, and \"Service Talks\" from 1919-1929, and his biography of transportation industry magnate Thomas Mitten.\n\u003cbr\u003e\u003cbr\u003ePennsylvania State University Labor Collection, State College, PA, USA. Union Dues Records of Neil Shaw, father of John MacKay Shaw.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Wisconsin Historical Society, Madison, WI, USA. Three boxes of papers and one 2-page manuscript, including Bell System speeches, articles, reports and other papers, 1930-1959. Subjects discussed include public attitudes and corporate image, rate-making and governmental regulations, and marketing and market research.\n Temple University Library in Philadelphia, PA, USA. John MacKay Shaw's Mitten Management correspondence, news items, and \"Service Talks\" from 1919-1929, and his biography of transportation industry magnate Thomas Mitten.\n Pennsylvania State University Labor Collection, State College, PA, USA. Union Dues Records of Neil Shaw, father of John MacKay Shaw."],"scopecontent_html_tesm":["\u003cp\u003eThe John MacKay Shaw Collection, housed at the Florida State University Libraries, includes over 22,400 books in the Childhood in Poetry Collection and over 46 linear feet of other materials that document the personal, business, and collecting activities of John MacKay Shaw, an internationally-known book collector. The Childhood in Poetry Collection is one of the foremost repositories of the poetry of childhood. It includes the books by, for, and about children, and additional materials he collected relating to the themes (bibliography, biography, children, collecting, publication, and writing) of the collection.\n\u003cbr\u003e\u003cbr\u003eWhile the emphasis of the John MacKay Shaw Collection is on poetry and children, it also contains the collector's own notes and correspondence, as well as original drawings, proof sheets, catalogs, and other materials assembled during his many years of research. In these materials as well as in the books, history, sociology, music and theatre, art and education are well represented, with emphasis on the Victorian era.\n\u003cbr\u003e\u003cbr\u003eSignificant authors and poets documented in the Collection include Alfred Lord Tennyson, William Blake, Robert and Elizabeth Barrett Browning, Robert Burns, Lewis Carroll, Eugene Field, Rudyard Kipling, Walter de la Mare, A.A. Milne, Theodor Geisel, Charles and Mary Lamb, James Whitcomb Riley, Sir Walter Scott, Robert Louis Stevenson, Isaac Watts, and William B. Yeats.\n\u003cbr\u003e\u003cbr\u003eThe John MacKay Shaw Collection consists of the Childhood in Poetry Collection and other materials he collected that document the books and poets and relate to the six themes that are evident throughout the Collection: bibliography, biography, children, collecting, publishing, and writing. These additional materials are organized into several series and subseries documenting the career of this collector. The Shaw Life series comprises biography, business files, church and education materials, correspondence, and personal files; Professional Files contain Shaw Correspondence and the Collection's History and Operation; Literary Materials include Shaw Bibliography Notes and Source Materials, Theme Materials in Childhood in Poetry, Shaw Writings, Autographed Materials, and Writings by Others who used the Shaw Collection; Promotional Materials include catalogs and advertisements; Other Printed Materials comprise magazines, catalogs, and newspaper articles; Audiovisual Materials contain films, photographs, and recordings. Additional materials include artwork, memorabilia, and the books in the Childhood in Poetry Collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The John MacKay Shaw Collection, housed at the Florida State University Libraries, includes over 22,400 books in the Childhood in Poetry Collection and over 46 linear feet of other materials that document the personal, business, and collecting activities of John MacKay Shaw, an internationally-known book collector. The Childhood in Poetry Collection is one of the foremost repositories of the poetry of childhood. It includes the books by, for, and about children, and additional materials he collected relating to the themes (bibliography, biography, children, collecting, publication, and writing) of the collection.\n While the emphasis of the John MacKay Shaw Collection is on poetry and children, it also contains the collector's own notes and correspondence, as well as original drawings, proof sheets, catalogs, and other materials assembled during his many years of research. In these materials as well as in the books, history, sociology, music and theatre, art and education are well represented, with emphasis on the Victorian era.\n Significant authors and poets documented in the Collection include Alfred Lord Tennyson, William Blake, Robert and Elizabeth Barrett Browning, Robert Burns, Lewis Carroll, Eugene Field, Rudyard Kipling, Walter de la Mare, A.A. Milne, Theodor Geisel, Charles and Mary Lamb, James Whitcomb Riley, Sir Walter Scott, Robert Louis Stevenson, Isaac Watts, and William B. Yeats.\n The John MacKay Shaw Collection consists of the Childhood in Poetry Collection and other materials he collected that document the books and poets and relate to the six themes that are evident throughout the Collection: bibliography, biography, children, collecting, publishing, and writing. These additional materials are organized into several series and subseries documenting the career of this collector. The Shaw Life series comprises biography, business files, church and education materials, correspondence, and personal files; Professional Files contain Shaw Correspondence and the Collection's History and Operation; Literary Materials include Shaw Bibliography Notes and Source Materials, Theme Materials in Childhood in Poetry, Shaw Writings, Autographed Materials, and Writings by Others who used the Shaw Collection; Promotional Materials include catalogs and advertisements; Other Printed Materials comprise magazines, catalogs, and newspaper articles; Audiovisual Materials contain films, photographs, and recordings. Additional materials include artwork, memorabilia, and the books in the Childhood in Poetry Collection."],"userestrict_html_tesm":["\u003cp\u003eCopyright owned by Florida State University.\u003c/p\u003e\n","\u003cp\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright owned by Florida State University.","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"abstract_html_tesm":["\u003cabstract id=\"aspace_511b6ccc8f10025b9aef72bc60c8b7bb\" label=\"Abstract\"\u003eThe John MacKay Shaw Collection consists of the Childhood in Poetry Collection and other materials he collected that relate to the six themes that are evident throughout the Collection: bibliography, biography, children, collecting, publishing, and writing. These other materials include articles, audiovisual materials, biographical materials, catalogs, correspondence, literary materials, notes, photographs, programs, and publications documenting his personal, business, and collecting activities.\u003c/abstract\u003e"],"abstract_tesim":["The John MacKay Shaw Collection consists of the Childhood in Poetry Collection and other materials he collected that relate to the six themes that are evident throughout the Collection: bibliography, biography, children, collecting, publishing, and writing. These other materials include articles, audiovisual materials, biographical materials, catalogs, correspondence, literary materials, notes, photographs, programs, and publications documenting his personal, business, and collecting activities."],"names_ssim":["FSU Special Collections \u0026 Archives","Shaw, John MacKay, 1897-1984","Aldrich, Thomas Bailey, 1836-1907.","Barton, Bernard, 1784-1849","Belloc, Hilaire, 1870-1953","Bewick, Thomas, 1753-1828","Blake, William, 1757-1827","Browning, Elizabeth Barrett, 1806-1861","Browning, Robert, 1812-1889","Bryant, William Cullen, 1794-1878","Burns, Robert, 1759-1796","Carleton, William, 1794-1869","Carman, Bliss, 1861-1929","Carroll, Lewis, 1832-1898","Cory, Fanny Y","Cowper, William, 1731-1800","Daly, T. A. (Thomas Augustine), 1871-1948","Dalziel, George, 1815-1902","De La Mare, Walter, 1873-1956","Dickinson, Emily, 1830-1886","Dodge, Mary Mapes, 1830-1905","Douglas, Lord Alfred Bruce, 1870-1945","Drinkwater, John, 1832-1937","Dunbar, Paul Laurence, 1872-1906","Eliot, Ebenezer, 1781-1849","Farjeon, Eleanor, 1881-1965","Field, Eugene, 1850-1895","Fyleman, Rose, 1877-1957","Gale, Norman R. (Norman Rowland), 1862-1942","Geisel, Theodor Seuss, 1904-1991","Gilbert, W. S. (William Schwenck), 1836-1911","Graham, Stephen, 1884-1975","Grahame, Kenneth, 1859-1932","Graves, Robert, 1895-1985","Gray, Thomas, 1716-1771","Greenaway, Kate, 1846-1901","Guest, Edgar A. (Edgar Albert), 1881-1959","Hemans, Mrs., 1793-1835","Herbert, A. P. (Alan Patrick), 1890-1971","Herford, Oliver, 1863-1935","Holmes, Oliver Wendell, 1809-1894","Hood, Thomas, The Elder, 1799-1845","Housman, A. E. (Alfred Edward), 1859-1936","Howitt, Mary, 1799-1888","Hunt, James Henry Leigh, 1784-1859","Johnson, Burges, 1877-1963","Keats, John, 1795-1821","Kerlan, Irwin, 1912-1963","Kingsley, Charles, 1819-1875","Kipling, Rudyard, 1865-1936","Lamb, Charles, 1775-1834","Lang, Andrew, 1844-1912","Larcom, Lucy, 1824-1893","Lear, Edward, 1812-1888","Levertov, Denise, 1923-1997","Lindsay, Vachel, 1879-1931","Locker-Lampson, Frederick, 1821-1895","Longfellow, Henry Wadsworth, 1807-1882","Lowell, James Russell, 1819-1891","Macdiarmid, Hugh, 1892-1978","Macdonald, George 1824-1905","Mcginley, Phyllis, 1905-1978","MacGregor, Archie","Masefield, John, 1878-1967","Mayfield, John","Millay, Edna St. Vincent, 1892-1950","Milne, A.A., 1882-1956","Montgomery, James, 1771-1854","Morley, Christopher, 1890-1959","Nash, Ogden, 1902-1971","Noyes, Alfred, 1880-1958","Phillips, George","Pitter, Ruth, 1897-1992","Potter, Beatrix, 1866-1943","Quarles, Francis, 1592-1644","Wiggins, Laura Elizabeth Richards, 1886-1988","Riley, James Whitcomb, 1849-1916","Rossetti, Christina Georgina, 1830-1894","Rossetti, Dante Gabriel, 1828-1882","Russell, George William \"A.E.\"","Saxe, John Godfrey, 1818-1887","Scollard, Clinton, 1860-1932","Scott, Walter, 1771-1832","Sendak, Maurice, 1928-","Sigourney, Dora Sigerson, 1868-1918","Southey, Robert, 1774-1843","Stevenson, Robert Louis, 1850-1894","Tabb, John B. (John Banister), 1845-1909","Tennyson, Alfred, 1809-1892","Thackeray, William Makepeace, 1811-1863","Watts, Isaac, 1674-1748","Whittier, John Greenleaf, 1807-1892","Wordsworth, William, 1770-1850","Yeats, W. B. (William Butler), 1865-1939"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"names_coll_ssim":["Aldrich, Thomas Bailey, 1836-1907.","Barton, Bernard, 1784-1849","Belloc, Hilaire, 1870-1953","Bewick, Thomas, 1753-1828","Blake, William, 1757-1827","Browning, Elizabeth Barrett, 1806-1861","Browning, Robert, 1812-1889","Bryant, William Cullen, 1794-1878","Burns, Robert, 1759-1796","Carleton, William, 1794-1869","Carman, Bliss, 1861-1929","Carroll, Lewis, 1832-1898","Cory, Fanny Y","Cowper, William, 1731-1800","Daly, T. A. (Thomas Augustine), 1871-1948","Dalziel, George, 1815-1902","De La Mare, Walter, 1873-1956","Dickinson, Emily, 1830-1886","Dodge, Mary Mapes, 1830-1905","Douglas, Lord Alfred Bruce, 1870-1945","Drinkwater, John, 1832-1937","Dunbar, Paul Laurence, 1872-1906","Eliot, Ebenezer, 1781-1849","Farjeon, Eleanor, 1881-1965","Field, Eugene, 1850-1895","Fyleman, Rose, 1877-1957","Gale, Norman R. (Norman Rowland), 1862-1942","Geisel, Theodor Seuss, 1904-1991","Gilbert, W. S. (William Schwenck), 1836-1911","Graham, Stephen, 1884-1975","Grahame, Kenneth, 1859-1932","Graves, Robert, 1895-1985","Gray, Thomas, 1716-1771","Greenaway, Kate, 1846-1901","Guest, Edgar A. (Edgar Albert), 1881-1959","Hemans, Mrs., 1793-1835","Herbert, A. P. (Alan Patrick), 1890-1971","Herford, Oliver, 1863-1935","Holmes, Oliver Wendell, 1809-1894","Hood, Thomas, The Elder, 1799-1845","Housman, A. E. (Alfred Edward), 1859-1936","Howitt, Mary, 1799-1888","Hunt, James Henry Leigh, 1784-1859","Johnson, Burges, 1877-1963","Keats, John, 1795-1821","Kerlan, Irwin, 1912-1963","Kingsley, Charles, 1819-1875","Kipling, Rudyard, 1865-1936","Lamb, Charles, 1775-1834","Lang, Andrew, 1844-1912","Larcom, Lucy, 1824-1893","Lear, Edward, 1812-1888","Levertov, Denise, 1923-1997","Lindsay, Vachel, 1879-1931","Locker-Lampson, Frederick, 1821-1895","Longfellow, Henry Wadsworth, 1807-1882","Lowell, James Russell, 1819-1891","Macdiarmid, Hugh, 1892-1978","Macdonald, George 1824-1905","Mcginley, Phyllis, 1905-1978","MacGregor, Archie","Masefield, John, 1878-1967","Mayfield, John","Millay, Edna St. Vincent, 1892-1950","Milne, A.A., 1882-1956","Montgomery, James, 1771-1854","Morley, Christopher, 1890-1959","Nash, Ogden, 1902-1971","Noyes, Alfred, 1880-1958","Phillips, George","Pitter, Ruth, 1897-1992","Potter, Beatrix, 1866-1943","Quarles, Francis, 1592-1644","Wiggins, Laura Elizabeth Richards, 1886-1988","Riley, James Whitcomb, 1849-1916","Rossetti, Christina Georgina, 1830-1894","Rossetti, Dante Gabriel, 1828-1882","Russell, George William \"A.E.\"","Saxe, John Godfrey, 1818-1887","Scollard, Clinton, 1860-1932","Scott, Walter, 1771-1832","Sendak, Maurice, 1928-","Shaw, John MacKay, 1897-1984","Sigourney, Dora Sigerson, 1868-1918","Southey, Robert, 1774-1843","Stevenson, Robert Louis, 1850-1894","Tabb, John B. (John Banister), 1845-1909","Tennyson, Alfred, 1809-1892","Thackeray, William Makepeace, 1811-1863","Watts, Isaac, 1674-1748","Whittier, John Greenleaf, 1807-1892","Wordsworth, William, 1770-1850","Yeats, W. B. (William Butler), 1865-1939"],"persname_ssim":["Shaw, John MacKay, 1897-1984","Aldrich, Thomas Bailey, 1836-1907.","Barton, Bernard, 1784-1849","Belloc, Hilaire, 1870-1953","Bewick, Thomas, 1753-1828","Blake, William, 1757-1827","Browning, Elizabeth Barrett, 1806-1861","Browning, Robert, 1812-1889","Bryant, William Cullen, 1794-1878","Burns, Robert, 1759-1796","Carleton, William, 1794-1869","Carman, Bliss, 1861-1929","Carroll, Lewis, 1832-1898","Cory, Fanny Y","Cowper, William, 1731-1800","Daly, T. A. (Thomas Augustine), 1871-1948","Dalziel, George, 1815-1902","De La Mare, Walter, 1873-1956","Dickinson, Emily, 1830-1886","Dodge, Mary Mapes, 1830-1905","Douglas, Lord Alfred Bruce, 1870-1945","Drinkwater, John, 1832-1937","Dunbar, Paul Laurence, 1872-1906","Eliot, Ebenezer, 1781-1849","Farjeon, Eleanor, 1881-1965","Field, Eugene, 1850-1895","Fyleman, Rose, 1877-1957","Gale, Norman R. (Norman Rowland), 1862-1942","Geisel, Theodor Seuss, 1904-1991","Gilbert, W. S. (William Schwenck), 1836-1911","Graham, Stephen, 1884-1975","Grahame, Kenneth, 1859-1932","Graves, Robert, 1895-1985","Gray, Thomas, 1716-1771","Greenaway, Kate, 1846-1901","Guest, Edgar A. (Edgar Albert), 1881-1959","Hemans, Mrs., 1793-1835","Herbert, A. P. (Alan Patrick), 1890-1971","Herford, Oliver, 1863-1935","Holmes, Oliver Wendell, 1809-1894","Hood, Thomas, The Elder, 1799-1845","Housman, A. E. (Alfred Edward), 1859-1936","Howitt, Mary, 1799-1888","Hunt, James Henry Leigh, 1784-1859","Johnson, Burges, 1877-1963","Keats, John, 1795-1821","Kerlan, Irwin, 1912-1963","Kingsley, Charles, 1819-1875","Kipling, Rudyard, 1865-1936","Lamb, Charles, 1775-1834","Lang, Andrew, 1844-1912","Larcom, Lucy, 1824-1893","Lear, Edward, 1812-1888","Levertov, Denise, 1923-1997","Lindsay, Vachel, 1879-1931","Locker-Lampson, Frederick, 1821-1895","Longfellow, Henry Wadsworth, 1807-1882","Lowell, James Russell, 1819-1891","Macdiarmid, Hugh, 1892-1978","Macdonald, George 1824-1905","Mcginley, Phyllis, 1905-1978","MacGregor, Archie","Masefield, John, 1878-1967","Mayfield, John","Millay, Edna St. Vincent, 1892-1950","Milne, A.A., 1882-1956","Montgomery, James, 1771-1854","Morley, Christopher, 1890-1959","Nash, Ogden, 1902-1971","Noyes, Alfred, 1880-1958","Phillips, George","Pitter, Ruth, 1897-1992","Potter, Beatrix, 1866-1943","Quarles, Francis, 1592-1644","Wiggins, Laura Elizabeth Richards, 1886-1988","Riley, James Whitcomb, 1849-1916","Rossetti, Christina Georgina, 1830-1894","Rossetti, Dante Gabriel, 1828-1882","Russell, George William \"A.E.\"","Saxe, John Godfrey, 1818-1887","Scollard, Clinton, 1860-1932","Scott, Walter, 1771-1832","Sendak, Maurice, 1928-","Sigourney, Dora Sigerson, 1868-1918","Southey, Robert, 1774-1843","Stevenson, Robert Louis, 1850-1894","Tabb, John B. (John Banister), 1845-1909","Tennyson, Alfred, 1809-1892","Thackeray, William Makepeace, 1811-1863","Watts, Isaac, 1674-1748","Whittier, John Greenleaf, 1807-1892","Wordsworth, William, 1770-1850","Yeats, W. B. (William Butler), 1865-1939"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3928,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857602626224128,"_root_":"1ac81ef5e6623d4b183a7c01","timestamp":"2026-07-16T08:00:45.077Z","bioghist_html_tesm":["\u003cp\u003eJohn Shaw was born in Glasgow, Scotland, on May 15, 1897. In 1911, he immigrated with his mother and two sisters to Philadelphia where his father had already found work and a place for the family to live. He quit school at the age of 14 and went to work as an errand boy at John Wanamaker's Department Store. Later he took stenographic courses at the Wharton Business School. He enlisted in the Army in 1917 and was stationed in France with the Ambulance Corp during World War I.\n\u003cbr\u003e\u003cbr\u003eWhen he returned to the U.S. in 1919 he became part of the steno pool for Mitten Management, which operated the transportation system in Philadelphia. Thomas Mitten, the President of the company, drew him out of the pool to be his personal secretary. His interest in people led Shaw to write fliers that were distributed to passengers on the trolleys and trains, his first public relations job. After Mr. Mitten's death, Shaw went to work for the Bell Telephone System, and remained a public relations executive with that company until he retired in 1959. Part of this job was to serve as liaison for the company in the production of the weekly classical music radio program \"The Bell Telephone Hour.\" Based on research he conducted, he also redesigned the Yellow Pages for New York City. He changed his name legally to John MacKay Shaw to distinguish himself from all the other John Shaws he had discovered. He chose MacKay in honor of his mother's uncle, the scholar, navigator, and teacher John MacKay of Stornoway, Isle of Lewis, Scotland.\n\u003cbr\u003e\u003cbr\u003eWhen his two children were young, Shaw read and sang to them often. He recited poetry, sang the old Glasgow drinking songs, Gilbert and Sullivan, and songs of the Gay Nineties. However, the children wanted to hear poems about them, not about other children. He promised to write them if they would provide the subjects for him to write about. Each year between 1933 and 1937, he collected the poems he had written that year and had them printed in pamphlets which he sent to friends at Christmas. Too soon the children outgrew the pleasures of poetry, but Shaw never did. Realizing that other fathers must have written poems for their children, he went looking for them in the second-hand bookstores. Thus began his collection of Childhood in Poetry.\n\u003cbr\u003e\u003cbr\u003eFor thirty years, while continuing to work for the Bell System, John MacKay Shaw haunted the second-hand bookstores of Great Britain and the United States, poring over catalogs in the evenings, searching out and purchasing rare and first editions of poetry for, about, and by children. He studied the books, read and wrote about them and their authors, and discoursed extensively with other collectors and scholars. He became a member of the Grolier Club and the American Library Association.\n\u003cbr\u003e\u003cbr\u003eUpon retirement in 1959, Shaw gave his collection of almost 6,000 volumes to Florida State University (FSU) Libraries. For the next 25 years, Shaw went to the library daily to study, write, and talk about his books. He continued adding to his collection. FSU provided secretarial support. Jim Birchfield helped him as curator; later Fred Korn served in that capacity. Shaw was an active member of the St. Andrews Society, the Friends of the FSU Libraries, and the Presbyterian Church. He initiated the FSU Libraries' Scottish Collection in 1975 by a donation of 100 of his books. Other Scots donated books and ephemera too, not only to the Scottish Collection but to Childhood in Poetry, including former director of the New York Public Library, George Fraser Black. In 1967 and 1969, the Friends of the FSU Libraries published two hardcover illustrated volumes of the poems Shaw had written for his children: T\u003cemph render=\"italic\"\u003ehe Things I Want: Poems for Two Children\u003c/emph\u003e (1967) and \u003cemph render=\"italic\"\u003eZumpin, More Poems for Two Children\u003c/emph\u003e (1969).\n\u003cbr\u003e\u003cbr\u003eAll during his collecting years, as he discovered new material, Shaw typed information about it into the pages of his notebooks. He collected catalogs, articles, ads, and items other than reading material as well-- anything that related to childhood and poetry. He stored non-book items in labeled envelopes and folders as well as in his notebooks, and even in the books themselves. These items and the notes he kept for each book provided the source material for his 11-volume annotated bibliography, \u003cemph render=\"italic\"\u003eChildhood in Poetry\u003c/emph\u003e, which includes a keyword index to the poems as well. In addition to scholarly journal articles, Shaw published several monographs covering various categories of authors. He also gave talks to professional librarians and English teachers around the U.S. and read to children in the local schools.\n\u003cbr\u003e\u003cbr\u003eOn the recommendation of Jim Walters of FSU's Department of Child Development, the FSU faculty awarded John MacKay Shaw the Doctor of Humane Letters degree on May 24, 1972. Shaw died in Tallahassee, FL on March 15, 1984.\u003c/p\u003e"]}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1ac81ef5e6623d4b183a7c01_aspace_81791"}},{"id":"18ce43a3c782b797db9fa781_aspace_179184","type":"Item","attributes":{"title":"Wilson's Camp, Mr. Dickson and Miss Ester","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179184#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eHand-colored photograph.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179184#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179184","ref_ssm":["aspace_179184","aspace_179184"],"id":"18ce43a3c782b797db9fa781_aspace_179184","title_filing_ssi":"Wilson's Camp, Mr. Dickson and Miss Ester","title_ssm":["Wilson's Camp, Mr. Dickson and Miss Ester"],"title_tesim":["Wilson's Camp, Mr. Dickson and Miss Ester"],"normalized_title_ssm":["Wilson's Camp, Mr. Dickson and Miss Ester"],"text":["Wilson's Camp, Mr. Dickson and Miss Ester","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Maine [Fenn Family], 1918","Item 17","/repositories/2/archival_objects/83040","Hand-colored photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179862","18ce43a3c782b797db9fa781_aspace_179167"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Maine [Fenn Family], 1918"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Maine [Fenn Family], 1918"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 17","/repositories/2/archival_objects/83040"],"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":1658,"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.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hand-colored photograph."],"_nest_path_":"/components#27/components#0/components#16","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179167","_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_179184"}},{"id":"6370922c1750cef4ef1d223f_aspace_17222","type":"File","attributes":{"title":"Wilson, Shelley 02/24/1982","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/6370922c1750cef4ef1d223f_aspace_17222#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_17222","ref_ssm":["aspace_17222","aspace_17222"],"id":"6370922c1750cef4ef1d223f_aspace_17222","title_filing_ssi":"Wilson, Shelley 02/24/1982","title_ssm":["Wilson, Shelley 02/24/1982"],"title_tesim":["Wilson, Shelley 02/24/1982"],"normalized_title_ssm":["Wilson, Shelley 02/24/1982"],"text":["Wilson, Shelley 02/24/1982","USF Photograph collection, 1958-1999","Watley - Winchester","Folder 93","/repositories/2/archival_objects/89331","box 68","folder 93"],"component_level_isim":[2],"parent_ids_ssim":["6370922c1750cef4ef1d223f","6370922c1750cef4ef1d223f_aspace_17238"],"parent_unittitles_ssm":["USF Photograph collection, 1958-1999","Watley - Winchester"],"parent_unittitles_tesim":["USF Photograph collection, 1958-1999","Watley - Winchester"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["Folder 93","/repositories/2/archival_objects/89331"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["USF Photograph collection, 1958-1999"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":3759,"parent_access_restrict_tesm":["None."],"parent_access_terms_tesm":["The contents of this collection may be subject to copyright. 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In the academic year 2008-09, USF reached a new high with $380.4 million in research grants and contracts.","As of 2010, USF serves more than 39,000 students and offers 228 degree programs at the undergraduate, graduate, specialist and doctoral levels, including the doctor of medicine, through its 11 colleges. USF is a member of the Big East Athletic Conference."],"prefercite_html_tesm":["\u003cp\u003eUSF photograph collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["USF photograph collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eOngoing\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Ongoing"],"relatedmaterial_html_tesm":["\u003cp\u003eUniversity Archives,\u0026#xA0; Special Collections, Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e","\u003cp\u003eUSF Oracle\u003c/p\u003e\n","\u003cp\u003eInside USF\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Publications"],"relatedmaterial_tesim":["University Archives,  Special Collections, Department, Tampa Library, University of South Florida, Tampa, Florida.","USF Oracle","Inside USF"],"scopecontent_html_tesm":["\u003cp\u003eThe University of South Florida (USF) Photograph Collection brings together photographs from two USF publications - Inside USF (the official magazine) and the Oracle (the student newspaper) - and a general collection of USF photographs.\u0026#xA0; By combining these collections, Special Collections has attempted to facilitate access, retrieval and use of USF photographs. This guide primarily serves as in index and provides a container listing and additional collection notes that indicate how some photographs have been categorized.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The University of South Florida (USF) Photograph Collection brings together photographs from two USF publications - Inside USF (the official magazine) and the Oracle (the student newspaper) - and a general collection of USF photographs.  By combining these collections, Special Collections has attempted to facilitate access, retrieval and use of USF photographs. This guide primarily serves as in index and provides a container listing and additional collection notes that indicate how some photographs have been categorized."],"userestrict_html_tesm":["\u003cp\u003eThe contents of this collection may be subject to copyright. 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Hillsborough County Goes to War: The Home Front, 1940 - 1950 .  Tampa:  Tampa Bay History Center.","Mormino, Gary R.  1986.   Immigrants on the Hill:  Italian-Americans in St. Louis , 1882 - 1982.   Urbana: University of Illinois Press.","Mormino, Gary R.  2006.   Italians in Florida .  New York:  Bordighera Press.","Mormino, Gary R.  1993.   War Clouds and the Sunshine State:  World War II and Florida .","A collection of legal documents, oral history transcripts and newspaper articles from Dr. Gary R. Mormino.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","This collection contains legal documents pertaining to the DeSoto County court case of Brenda M. Johnson, et al. vs. De Soto County Board of Commissioners and De Soto County School Board, et al. Included are memoranda, depositions, declarations and historical research conducted by Gary Mormino. 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Hillsborough County Goes to War: The Home Front, 1940 - 1950 .  Tampa:  Tampa Bay History Center.","Mormino, Gary R.  1986.   Immigrants on the Hill:  Italian-Americans in St. Louis , 1882 - 1982.   Urbana: University of Illinois Press.","Mormino, Gary R.  2006.   Italians in Florida .  New York:  Bordighera Press.","Mormino, Gary R.  1993.   War Clouds and the Sunshine State:  World War II and Florida ."],"scopecontent_html_tesm":["\u003cp\u003eA collection of legal documents, oral history transcripts and newspaper articles from Dr. Gary R. Mormino.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["A collection of legal documents, oral history transcripts and newspaper articles from Dr. Gary R. Mormino."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_17700a5687454ce37486d1f6d0d6250b\" label=\"Abstract\"\u003eThis collection contains legal documents pertaining to the DeSoto County court case of Brenda M. Johnson, et al. vs. De Soto County Board of Commissioners and De Soto County School Board, et al. Included are memoranda, depositions, declarations and historical research conducted by Gary Mormino. Also included in the collection are transcripts of oral history interviews conducted by Gary Mormino that cover the Tampa Bay area's history. Finally, a collection of Mormino's articles for the Tampa Tribune are also included.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains legal documents pertaining to the DeSoto County court case of Brenda M. Johnson, et al. vs. De Soto County Board of Commissioners and De Soto County School Board, et al. Included are memoranda, depositions, declarations and historical research conducted by Gary Mormino. Also included in the collection are transcripts of oral history interviews conducted by Gary Mormino that cover the Tampa Bay area's history. Finally, a collection of Mormino's articles for the Tampa Tribune are also included."],"names_ssim":["USF Libraries - Tampa Special Collections","Mormino, Gary Ross (1947-)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Mormino, Gary Ross (1947-)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":69,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870862581568110592,"_root_":"c445b81ea9319ce9a5dabc82","timestamp":"2026-07-16T09:19:53.566Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/c445b81ea9319ce9a5dabc82_aspace_115271"}},{"id":"18ce43a3c782b797db9fa781_aspace_179309","type":"Item","attributes":{"title":"Wilsons Maine - Cook and cookee","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179309#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eHand-colored photograph.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_179309#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_179309","ref_ssm":["aspace_179309","aspace_179309"],"id":"18ce43a3c782b797db9fa781_aspace_179309","title_filing_ssi":"Wilsons Maine - Cook and cookee","title_ssm":["Wilsons Maine - Cook and cookee"],"title_tesim":["Wilsons Maine - Cook and cookee"],"normalized_title_ssm":["Wilsons Maine - Cook and cookee"],"text":["Wilsons Maine - Cook and cookee","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Maine [Fenn Family], 1918","Item 21","/repositories/2/archival_objects/83166","Hand-colored photograph."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179862","18ce43a3c782b797db9fa781_aspace_179167"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Maine [Fenn Family], 1918"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides - Travel Pictures","Travel Pictures - Maine [Fenn Family], 1918"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 21","/repositories/2/archival_objects/83166"],"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":1662,"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.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hand-colored photograph."],"_nest_path_":"/components#27/components#0/components#20","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_179167","_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content 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