Three sketchbooks; the first, 1893-1894, containing sketches from his student years at the Columbia School of Mines, Department of Architecture (he received his degree in 1894); the second, 1894-1896, containing sketches made as a student at the Ecole des Beaux-Arts in Paris; and the third, circa 1896-circa 1905, containing sketches for a variety of projects and designs. Buildings and other structures depicted include the Academy of Music on 14th Street, New York City (a seating plan); Wells Fargo Bank Building, Portland, Oregon, 1910; Reunion Hall, Princeton University, 1902; lantern for the Aetna Building, Hartford, Connecticut; Woodland Street entrance to Kinney Park, Hartford, Connecticut, 1905 (some drawings are by others). Program notes from the classes of Paul Blondel and J. Gaudet at the Ecole des Beaux Arts are included. Also, designs (some done in partnership with Joseph Urban) for proposals for the Metropolitan Opera Company on various sites in New York City, circa 1920s; and designs for shopping and music centers in New York City, to 1936.

Files of the company, 1911-1920, much of which consists of unsucessful architectural bid documents, each noting the architect, building, and location, as well as estimated costs, sketches, and related correspondents. These bid documents represent commissions not awarded to NYATCC, and do, in some cases, indicate the outcome of the bid. Architects represented include McKim, Mead & White; Cass Gilbert; George Post; D.H. Burnham & Company; Warren & Wetmore, Schwartz & Gross, and many others. Also includes correspondence and office memoranda, including some describing the formative years, 1911-1914, of the National Terra Cotta Society, trade catalogs, and job photographs. Also, two albums containing photographs of sample pieces of terra cotta, and month by month construction records for three buildings, including the American Theater (42nd Street, New York, 1892) by Charles Coolidge Haight; the Renaissance Apartments (Brooklyn, N.Y., 1889) and the Imperial Apartments (Brooklyn, N.Y., 1890) both by Montrose Morris.