Architectural drawings for buildings designed by Hamlin including proposed alterations for the Charles Dudley Warner House, circa 1885; pumping station Clear Stream (or Clear Stream Station), Long Island, 1886; American Classical School, Athens, Greece, 1886-1888; proposed cottage for Mrs. R. Hoe at Sea Cliff, Long Island, 1887; an addition to Clinton Hall at Blair Presbyterian Academy, Blairstown, New Jersey, circa 1896; Soldier's Monument, Whitinsville, Massachusetts, circa 1904 (Hamlin was the architect and Herman A. MacNeil was the sculptor); and miscellaneous and unidentified structures. Also included are drawings done by Hamlin while a student at the Massachusetts Institute of Technology, 1876-1877; sketches done by Hamlin on travels both in the United States and abroad, 1867-1923; photographs of various unidentified buildings and architectural drawings; manuscripts of "ARCHITECTURAL SHADES AND SHADOWS" with related drawings"History of American Art" (unfinished, in French), circa 1923, and "MODERN ARCHITECTURE AND THE CRITICS" circa 1923. Personal materials included undated photographs of A.D.F. Hamlin; a photograph of an 1835 portrait of Cyrus Hamlin; a volume containing condolences, 1926, on the occasion of A.D.F. Hamlin's death; and a scrapbook"Memoirs of Amherst, Class of '75" containing programs, invitations, clippings, notes, essays, exam questions, steamship passenger lists, and other materials.

Alexander McMillan Welch (1869-1943) was a New York City based architect who practiced independently and as a member of Welch, Smith & Provot. His firm was best known for designing New York City townhouses in the Beaux-Arts style. The collection includes 1,641 architectural drawings, 196 student drawings, 14 student notebooks, 99 loose photographs and 3 photo albums of project photography, project specifications and files, and some professional ephemera.

Architectural plans and renderings of Welch's designs, largely New York City residences, circa 1890s-1920s; specifications; photographs; and brochures advertising buildings at 787 Fifth Ave., 628 Fifth Ave., and 71 and 73 Murray Street, in New York City. Drawings and a sketchbook done by Welch while a student; fourteen notebooks containing Welch's notes from Columbia classes in architecture, 1888-1890; licenses to practice in New York and New Jersey, 1904-1923; a certificate, 1937, and related correspondence relating to Welch's appointment as a U.S. delegate to the fourteenth International Congress of Architects, held in Paris, July 18-25, 1937. A list of U.S. delegates is included. Of note are drawings and papers for the restoration of the Dyckman House, an 18th century farmhouse in upper Manhattan (1910-1917); and the Mrs. Rutherford Stuyvesant Estate in Allamuchy, New Jersey, and the Rutherford Stuyvesant Momument in Tranquility Cemetery, Tranquility, New Jersey, designed by sculptor Daniel Chester French.

Drawings show plans, elevations, and sections for the Southwest Apartment on the 11th and 12th story of 1 Lexington Avenue.

More than 120 architects from the United States and abroad contributed original drawings to this collection. Most are hand-drawn; some are printed through traditional etching or lithography techniques; a few others are computer-generated prints. Images are primarily related to the architects' projects, although some drawings are travel sketches of other structures. Drawings in this archive were exhibited at the Miriam & Ira D. Wallach Art Gallery and the Arthur Ross Gallery at Columbia University, Apr. 3-May 4, 1991. At least one drawing from each contributor was published in the accompanying exhibition catalog, CONTEMPORARY ARCHITECTURAL DRAWINGS (San Francisco: Pomegranate Artbooks, 1991).

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.

This collection contains architectural drawings, photographs, business records and reference materials related to the projects and designs of Bertram Grosvenor Goodhue and his successor firm, Mayers, Murray & Philips, primarily in the New York City region. A large portion of the collection consists of personal and professional correspondence to and from Goodhue from the early 1900s until his death in 1926. Relatively few architectural drawings from his professional practice survive.

This collection primarily contains architectural renderings executed by Long in 1906 for a memorial issue of BUILDINGS magazine dedicated to New York architect Stanford White. These drawings represent White's most famous structures designed while he was a partner with McKim, Mead & White. Buildings depicted include Madison Square Garden, the New York Herald Building, and the Washington Memorial Arch, all in New York City, among others. Also included in this collection are miscellaneous architectural drawings by Long, Chester B. Price, and others, circa 1920s-1930s; and printed material.

Pollard's architectural drawings for churches, and residential and commercial buildings, located largely in New York and New Jersey, many undated, circa 1830s. Included are drawings for St. Paul's Protestant Episcopal Church, Petersburgh, Va., built, 1838, and destroyed in a fire, 1854; a prison, probably submitted by Pollard to the 1835 competition for the New York Hall of Justice. Also, a broadside, undated, describing the projected Washington Monument, New York City; a letter Pollard from Charles C. Taber, 1850, describing his plans for four houses on three adjacent lots on 25th Street, with sketched plans on verso; and two trade cards of C. Pollard's Ohio Fire Proof Mineral Paint attached.

Architectural drawings and photographs of architectural drawings with some related correspondence of residential and public buildings, churches, libraries, theaters, monuments, and bridges including: the Henry Hudson Bridge, Triborough Bridge, and the Manhattan Bridge in New York; Edward Henry Harriman's Arden House in Harriman, N.Y.; the Alfred I. Dupont mansion in Roslyn, N.Y.; the David A. Reed house in Washington, D.C.; the reconstruction of the Grand Army Plaza in New York City; the Memorial Amphitheater for Arlington National Cemetery; and various bicentennial buildings for Yale University. Of note are drawings of the grounds, details of buildings, and furniture for the New York Public Library, 1908-1909.

Drawings show plans, elevations, sections, and details for the design of the Casino Theatre and related spaces.

Charles Adam Platt (1861-1933) was an American architect and landscape designer. Although best remembered today for his landscape and country house designs, he was also nationally known for his etchings, landscape paintings, commercial architecture, and institutional projects. He was largely self-taught in each of these disciplines, building his success on his ability to reconceive the classical tradition in architecture for the needs and desires of his wealthy, powerful clients. This collection contains materials related to Platt's personal and professional lives, the bulk originating from Platt's office in the form of project drawings, photographs, and records documenting architectural projects from 1901-1933.

This collection contains architectural drawings by various delineators and photographs of completed buildings designed by Charles Coolidge Haight. These projects include General Theological Seminary; the School of Mines at Columbia University; Christ Church, built in 1860; St. Ignatius Chapel, built in 1902; and Trinity School--all in New York City. Also included are the Chapel of Saint Cornelius the Centurion on Governors Island, New York; buildings at Yale University; and miscellaneous and unidentified projects. Additionally found in the collection are a contract and specifications from 1881 for a hospital for contagious diseases to be built for the New York City Health Department on North Brother Island in New York City, as well as reproductions of architectural drawings for this hospital.

Drawings and maps, with related clippings, showing proposals for traffic routes; railway and ship terminals; boulevards and streets; buildings; public spaces; bridges; and other projects, located mostly in Manhattan, with some in Brooklyn. Also, a rendering by Jacob Wrey Mould of the Church of the Pilgrims, Brooklyn, New York, is included.

Architectural drawings with miscellaneous photographs, prints, and reproductions executed by Charles Stoughton, or by the architectural firm Stoughton & Stoughton, formed by the partnership of Charles and Arthur Stoughton. Projects include bridge designs for the estates of John D. Rockefeller, Jr. at Mount Desert Island, Maine, 1930-1934, and Pocantico Hills, Tarrytown, N.Y., 1929-1931; buildings at the Canton Christian College at Hong Lok, Canton, China, 1905-1913; a residence for secretaries, Young Women's Christian Association, Pak Hok Tong, Canton, China, 1915; and buildings at the Polytechnic Institute at San German, Puerto Rico, 1918-1937. Also, a plan and elevations of the grounds, with the location of the house, of the Jumel Mansion, New York, n.d.; a general plan of a hospital, 1919; a photograph of the Soldiers and Sailors Monument, New York; and miscellaneous maps of various sections of New York City, undated except for one dated 1796.

This small collection contains primarily Detwiller's student drawings, notes, course materials, books, class photographs, and graduation announcements from the period of his study at Columbia University from 1881 to 1885. These materials are supplemented by a small group of Detwiller's childhood sketchbooks, drawings and office papers created by Detwiller during his practice as a professional architect, and other scrapbooks and ephemeral items relating to Detwiller's family and personal interests, spanning the years 1874 to 1940.

Price's renderings, circa 1930s until his death in 1962, of designs by Warren and Wetmore, Benjamin Wistar Morris, III, and others; for the Hartford National Bank, Hartford, Conn. and the General Motors Building, New York City, designed by Shreve & Lamb; and other buildings. Also, eight photographs, undated, circa 1930s-1940s, showing the interior and exterior of Union Square Station, Toronto, Ontario (Price's relation to these is unclear).

Included are architectural drawings, surveys, maps, and site proposals, for Columbia's Morningside Heights campus, designed primarily by McKim, Mead & White. Other architects represented include Adams & Woodbridge; Arnold Brunner (who designed the School of Mines); Eggers & Higgins; the Columbia University Buildings and Grounds Department; Howells and Stokes (designed St. Paul's Chapel); Reinhard, Hofmeister and Wahlquist; and James Gamble Rogers. Drawings for buildings no longer in existence or never constructed and drawings for later alterations, are included. Architectural drawings of the Bloomingdale Insane Asylum, and surveys of the asylum site prepared for Columbia, 1888-1894. Also included are site plans and proposals, surveys, and maps, circa 1890s-1910s, showing the surrounding area, including such institutions as the Jewish Theological Seminary, St. Luke's Home, Cathedral of St. John the Divine, Grant's Tomb, and others. Drawings for the Womans's Hospital in the State of New York (designed by Allen & Collens, erected 1903, demolished in the 1970s), circa 1903-1914, are also included. This building was used to house the Columbia School of the Arts in the 1960s since it was located near the campus.

Additional materials include carbons of typescript correspondence of lectures given by Dean William A. Boring (academic year 1933-1934) and Professor Theodor Karl Rohdenburg (academic year 1946-1947). Also design problems, the earliest of which were given in conjunction with the Beaux-Arts Institute of Design, from academic years 1918-1919, 1926-1927, 1936-1937, 1949-1950, and 1957-1958. Also materials for the Architecture 51 class; correspondence of Joseph Hudnut; course outlines; correspondence relating to the search for a new dean of the school, 1957-1963.

Included are drawings--from preliminary sketches to finished renderings--done by students in the architecture program at the School of Mines at Columbia and, later, at the School of Architecture at Columbia. The bulk of these were done circa 1884-1912, during the tenures of Deans William Robert Ware (1881-1903) and A.D.F. Hamlin (1903-1912). Included in collection are student drawings by William A. Boring, Harry Allan Jacobs, Benjamin Wistar Morris, Jr., Julian Clarence Levi, Arthur Ware, Talbot Faulkner Hamlin, Leopold F. Arnaud, Perry Coke Smith, Theodor Karl Rohdenburg, and Aladar Olgyay. Also, drawings done by architecture students at the Massachusetts Institute of Technology, circa 1880s; a photograph, undated, of William Robert Ware; and one drawing, 1879, by architect Cass Gilbert.

Original and reprographic architectural drawings of Craftsman homes designed by The Craftsman Architects from offices in Syracuse and New York City, under the direction of Gustav Stickley, most of which were published nearly monthly in THE CRAFTSMAN magazine. Sixteen architectural designs for private clients, seven Craftsman fireplace-furnace systems for private clients, and additional drawings for Craftsman hardware are also included.

Architectural drawings of Gendell's buildings in Philadelphia and elsewhere in Pennsylvania, particularly Baptist churches.

Included are approx. 7,000 architectural drawings, circa 1910s-1940s, for projects designed by Delano & Aldrich, including La Guardia Airport in New York; several buildings at Yale University; Willard Straight Hall at Cornell University; various buildings at United States Military Academy at West Point; the National Gallery of Art in Washington, D.C.; alterations to the White House; numerous residences throughout the New York City metropolitan area, particulary the Dwight W. Morrow house in Englewood, N.J., the J.A. Burden house in Syosset, N.Y., and the Willard D. Straight house on East 92nd Street in New York City; and various schools, churches, and residential structures throughout the United States. Rendered competition drawings are included. Drawings made by William Adams Delano while a student at the Ecole des Beaux-Arts, Paris, circa 1900. Also, 6 boxes of photographs of Delano & Aldrich completed projects, chiefly residential structures.

Photographs and architectural drawings of Lienau's work, much of it in New York City and in New Jersey. Projects include the Gardner A. Sage Library for the General Theological Seminary in New Brunswick, N.J.; the Francis Cottenet Villa in Dobbs Ferry, N.Y.; a house for Legrand Lockwood in South Norwalk, Conn., later owned by Mark Twain and now known as the Lockwood-Mathews Mansion; and the Telfair Academy of Arts and Sciences in Savannah, Ga. Also included are drawings of unidentified or unexecuted buildings; student drawings, and early European commissions; lecture notes, 1835-1837, from the Stadtische Gewerbeschule, Berlin; a partial list of of Lienau's work, 1848-1886; specifications; acounts; printed material; photographs, postcards, and prints showing various European buildings; clippings; certificates; typescripts of articles; and correspondence.

Edith Elmer Wood (1871-1945) was a US housing reformer. As lobbyist, writer, and government consultant, she helped define New Deal housing policy. After graduating from Smith College in 1890, she wrote fiction and undertook settlement house work before launching her influential, life-long career in housing reforms. The bulk of the collection is letters but other kinds of material is included, such as drawings, blueprints, manuscripts, maps, photographs, pamphlets, news clippings and hotel receipts.

Architectural drawings and photographs of Litchfield's designs for Yorkship village (housing for ship workers during World War I near Camden, N.J.); Public Library, St. Paul, Minn.; memorial to Theodore Roosevelt at Oyster Bay, Long Island, N.Y.; 800 Park Avenue and other New York City apartment houses; Albany Post Office, Albany, N.Y. (designed by Gander, Gander & Gander, with Litchfield as consulting architect); and other projects.

This collection included primarily original and reprographic architectural drawings by Roth, circa 1907-circa 1949, largely of apartment buildings located in Manhattan and designed during the 1920s and 1930s. Represented are the San Remo Towers, The Beresford, The Oliver Cromwell, the Normandy, and numerous other apartment buildings. There are also drawings for several hotel and private residences. A two-volume typescript autobiography is also included.

This collection primarily contains architectural drawings, correspondence, business records, and a small number of photographs related to the projects of Emery Roth & Sons and its subsidiary entities. A large portion of the entities are represented only in the Office Records series and are identified as such. Some projects on which Emery Roth & Sons acted as architect of record are not represented in this collection, most notably the Twin Towers of the World Trade Center.

This collection contains reprographic architectural drawings for the Empire State Building; photographs of the demolition of the original Waldorf-Astoria Hotel, which occupied the Fifth Avenue site; photographs of the Empire State Building under construction, circa 1930-1931 (one photograph shows former governor Alfred E. Smith standing in the building during construction), including 232 photographs by photographer Lewis Hine; photographs showing the building after completion, circa 1931-1956; scrapbooks of clippings of articles about the building, 1930-1957; and illustrations of the Empire State Building, circa 1930s-1960s. These subgroups of materials also have records in CLIO with more detailed descriptions of items; for these records, please search under "Empire State Building" or "Shreve, Lamb & Harmon" or "Hine, Lewis Wickes".

Approximately 1,000 architectural drawings, circa 1880-1959, with related correspondence, clippings, announcements, specifications, legal documents, and photographs. Major projects represented include Auldbrass Plantation, Yemasee, S.C; the Guggenheim Museum, New York City; Fallingwater (the Edgar J. Kaufmann residence), Bear Run, Pa.; and Wright's own home and studio in Oak Park, Ill. Also, Wright's correspondence relating to exhibits and publication of his work; other professional matters; and correspondence with his son, John Lloyd Wright, 1920s-1950s; manuscript, typescript, and printed versions of articles and addresses by Wright; photographs, programs, invitations, issues of SQUARE-PAPERS, and other materials, circa 1920s-1940s, relating to Taliesin; and miscellaneous invitations, programs, announcements, honors, appreciations, memorials, clippings, and other documents relating to various aspects of Wright's career.

Included are 19 original architectural drawings and photographs and prints of drawings by Withers. Among these are designs for the Van Schaick Free Reading Room (now the Huntington Free Library and Reading Room), Bronx, N.Y.; reredos proposed for the Church of the Transfiguration, New York City; Chapel of the Good Shepherd on Blackwells Island (now Roosevelt Island), N.Y.; a competition design for the Cathedral of St. John the Divine, New York City; St. Thomas Episcopal Church in Hanover, N.H.); and drawings by others, including Sullivan Jones and Rowland Plumbe. This collection also includes manuscript copies of three letters from Withers to his mother written at sea in 1852 and describing his trip to America.

This collections includes architectural drawings, files and photographs of projects designed by Woodbridge and his various firms, circa 1928-1960s. These include buildings at Presbyterian Church, Savoonga, St. Lawrence Island, Ala.; Cole Memorial Chapel, Wheaton College, Wheaton, IL; Amherst College, Mass.; Smith College, Mass.; St. Mary the Virgin Church, Chappaqua, N.Y.; St. John's Chapel and Library, Hobart College, Geneva, N.Y.; the Keene Valley Congregational Church, Keene Valley, N.Y.; and the Brick Presbyterian Church and the Episcopal Church Center, both in New York City; as well as other churches, residences, and miscellaneous projects. Also, included are drawings done by Woodbridge while a student at the Columbia School of Architecture, early 1920s; photographs of some of Woodbridge's buildings taken mostly by the architectural photographer Samuel H. Gottscho; a small sample of Woodbridge's correspondence, 1941-1942, documenting his role as chairman of the American Institute of Architects Committee on Architectural Services, relating to the role architects could play in the war effort; sketchbooks of various international locations; and photographs and documents relating to archaeological excavations at Antioch in Pisidia, Turkey.

Sketchbooks, 1895-1903; sketches, 1894-1896, made while Magonigle was travelling in Europe on Rotch Travelling Scholarship; graphic designs, 1902-1919; rendered competition drawings for government buildings, circa 1907-1920, and memorial structures, circa 1910-1930; photographs of Magonigle's architectural drawings, memorial structures, monuments, and other architectural work, much of it located in New York City, circa 1900s-1930s. Among projects represented in the collection are the Gates Avenue Courthouse, Brooklyn, N.Y.; the Firemen's Memorial, the Robert Fulller Memorial, and the National Watergate Memorial in New York City's Riverside Park; the Liberty Memorial in Kansas City, Mo.; the Isaac Guggenheim house in Port Washington, N.Y.; numerous additions and alterations for the Franklin Murphy mansion in Mendham, N.J.; and the United States Embassy compound in Tokyo, Japan. Also, drawings by other architects including Hugh Ferriss, Thomas Rogers Kimball, Hubert George Ripley, and I.W. Taber, that were presented to Magonigle. Also included are drawings, circa 1910s-1940s, by Magonigle's wife, painter and designer Edith Marion Day; photographs of Day and Magonigle; manuscripts of lectures, literary works, and other writings by Magonigle; and ephemera.

Harold Van Buren Magonigle was a New York-based architect, graphic designer, painter and sculptor. Magonigle married artist Edith Marion Day in 1900. Edith Magonigle was a painter and muralist who served as President of the Society of Women Painters and Sculptors. Edith was a primary collaborator of Harold Van Buren Magonigle in both the decoration and creation of buildings designed by his practice. He was widely known as an architect of memorial structures including the Firemen's Memorial on Riverside Drive and the Liberty Memorial in Kansas City. Other prominent commissions include the Isaac Guggenheim house in Port Washington, New York and the United States Embassy in Tokyo, Japan.

Included are drawings made by Avery while studying under Jules Andre at the Ecole des Beaux-Arts, Paris, and sketchbooks containing sketches made in Paris and on excursions, 1872-1879. Architectural drawings and photographs of architectural drawings for proposed or executed residential and commercial buildings, churches, art galleries, monuments, and other structures, 1880s; competition drawings for public monuments, 1883-1887; experimental studies, 1885, for the pedestal of Frederic-Auguste Bartholdi's Statue of Liberty; and 39 studies and finished drawings, 1888-1890, made for a competition for a memorial for Ulysses S. Grant which he did not win. Also, magazine articles by or about Avery and his work, 1883-1890; obituaries and death announcements, 1890; miscellaneous photographs, certificates, and papers; and invitations, clippings, illustrations, and photographs, circa 1892-1894, relating to the founding of the Avery Architectural Library at Columbia University.

Youngling's drawings of architectural decorations and ornaments for ceilings and walls in largely unidentified buildings, presumably in New York City.

Architectural drawings and photographs of Hoppin and Koen designs including alterations to the residence of R.T. Wilson, Jr., 15 East 57th Street, New York, 1905; Albany County Courthouse, Albany, New York, 1913-1915; Mount Morris Theater at Fifth Avenue and 116th Street, New York, 1911-1912; New York City Fire Department building, East 111th Street and Second Avenue, 1911; Manhattan terminal of the Brooklyn Bridge, undated, not constructed; residences of George B. McClellan at Princeton, New Jersey, and Washington, D.C., 1922; Edith Wharton and Edward Wharton's Lenox, Massachusetts, home, the Mount; New York City Police Headquarters, 240 Centre St., New York; and others.

Hugh Ferriss (1889-1962) was an architectural renderer known for his vision of the modern city and his ability to translate vast projects into dramatic but clear-cut images. Ferriss published two books: The Metropolis of Tomorrow (1929) and Power of Buildings (1953). The collection was donated to Avery Library by Ferriss' family after his death, and has been supplemented by several later additions from other sources. 363 original drawings in the collection have been photographed and digitized and can be viewed via links in the finding aid's container listing.

Architectural drawings for projects designed by Howells & Stokes, and by Stokes working independently, particularly, residence for Stokes' father, financier and philanthropist Anson Phelps Stokes (1838-1913) at Collender's Point, Darien, Conn., 1902-1905; a house for himself"High-Low House" Greenwich, Conn., 1901-1917; house for his wife at Indian Harbor, Greenwich, Conn., 1927, undated; outdoor pulpit for the Cathedral of St. John the Divine, New York, 1912-1915 (built in 1916); proposal for an apartment house at 953 Fifth Ave., New York, 1924-1926; competition entry for the Chicago Tribune Tower, undated (the competition, 1922, was won by Raymond Hood); and St. Paul's Chapel, Columbia University, New York, 1904-1930. Also, miscellaneous designs; competition entries; designs for unidentified buildings; designs for apartment buildings and housing projects; photographs of buildings by Stokes; landscape designs done by the Olmsted Brothers firm for Stokes for an unidentified project or projects. Also included are documents relating to the planning, construction, and, later, repairs and the addition of memorial tablets to St. Paul's Chapel, Columbia University, which was designed by Howells & Stokes and built in 1907. Correspondence, with related memoranda, estimates, specifications, accounts, contracts between Howells and Stokes or Stokes with Columbia University officials, and contractors and suppliers date from 1903 to the 1930s.

Largely architectural drawings, photographs, and furniture designs for Butler Library and the College of Physicians and Surgeons, Columbia University, New York City. Also, architectural drawings and photographs for other buildings at Columbia, including Bard Hall, Kent Hall, National Hall, South Hall, and Low Library; as well as drawings for buildings elsewhere in the United States and El Salvador.

This collection includes Giorgio Cavaglieri's preliminary studies, working drawings, presentation drawings, and specifications, circa 1962-1965, for his renovation of the Jefferson Market Courthouse into a library. Also, prints of drawings, 1876, by Vaux and Withers for the original building, and drawings, circa 1918-1940, for alterations.

Architectural drawings for residence, public and commercial buildings, churches, university buildings, and other structures, ca. 1880s-1925, many of which are located in Maine. These were done by Stevens while working independently, in partnership with his son John Howard Stevens, and while a member of architectural firms Fassett and Stevens (with offices in Portland, Maine and Boston, Mass.) and Stevens and Cobb. One unidentified photograph of a house is included. Also included are drawings Stevens did for the book EXAMPLES OF AMERICAN DOMESTIC ARCHITECTURE.

John Maclane Johansen received his architecture degree from the Harvard Graduate School of Design in 1942 where he studied under Walter Gropius. He worked under Marcel Breuer and at Skidmore, Owings & Merrill before opening his own private office in New Canaan, Connecticut, where he became known as one of the Harvard Five. He later formed a partnership with Ashok Bhavnani. Major projects include the Oklahoma (Mummers) Theater in Oklahoma City; the Goddard Library at Clark University in Worcester, Massachusetts; the Charles Center Theater Building (Mechanic Theater) in Baltimore, the United States Embassy in Dublin, Ireland, and the Island House and Rivercross apartments on Roosevelt Island, which he completed with Bhavnani. Johansen also designed numerous private residences in Connecticut and New York, and a series of conceptual projects such as the Leapfrog City project and the "Moon Module" house. The collection largely documents Johansen's professional career, and includes original and reprographic architectural drawings, photographs, negatives, professional papers, publications, reference files, and one scale model.

Architectural drawings for projects designed by Vegezzi, and drawings made by Vegezzi while he worked as a draftsman in the offices of Kenneth Franzheim and Allan B. Mills, Associate Arch.; Holabird and Root and Burgee; Benjamin Wistar Morris III; Rosenthal, Dessesls and Jones; Trylon Studios; and particularly McKim, Mead & White (81 drawings, 1923-1942).

Freedlander's architectural drawings for the proposed buildings for the Appellate Division of the Supreme Court, First Judicial Department of the State of New York, at 95 Park Ave., between 39th and 40th Streets, New York City.

The Julian Clarence Levi collection documents the life and activities of a twentieth century American architect and philanthropist. The collection consists of watercolor study drawings developed while Levi was a student at Columbia University and the École des Beaux Arts; architectural drawings, photographs and records for architectural projects designed and developed in association with his partner Alfred S. Taylor from 1907 until 1962; professional papers from various committees and societies Levi was associated with; personal papers and photographs, including documentation on his family and office, his academic and professional recognitions, public events, travels and social gatherings as a former Columbia alumnus; and various prints and photographs of buildings and European artists collected by Levi throughout his life.

The projects in this collection represent the history of a firm that lasted nearly a century. The roots of the firm can be traced back to Hermann J. Schwarzmann, a German-born architect who designed the Philadelphia Centennial of 1876. Schwarzmann soon partnered with Albert Buchman and practiced with him until 1887. Unfortunately no drawings survive from the two earliest firms. This collection begins with records from the partnership of Buchman & Deisler (circa 1888-1899), followed by a succession of partnerships until the dissolution of the firm: Buchman & Fox (1899-1917), Buchman & Kahn (1917-1930), Ely Jacques Kahn Architects (1930-1940), and Kahn & Jacobs (1940-1973). The bulk of the collection documents the firms' work from 1893 until 1950. The collection includes approximately 8,250 architectural drawings for projects located primarily in New York City that were designed or altered by Kahn & Jacobs and the various predecessor partnerships. Major projects include the Bergdorf Goodman Department Store (1927); Bloomingdale's Department Store (1903-1917); the Bonwit Teller Department Store at Fifth Avenue and 38th Street (1911); the Film Center building (1928-1932); the original New York Times Building at 42nd Street and Broadway (1915-1920); and the Squibb Building (1929-1951), all in New York City. Researchers will also find drawings for the Oppenheimer-Collins Company buildings in Brooklyn (1915-1928), New York City (1906-1930), Philadelphia (1923), and Pittsburgh (1919-1928).

The collection is made up of Katherine C. Moore's research files on the careers of Trowbridge and Livingston. The files include Moore's notes, clippings, and sometimes photographs of the buildings designed by the firm. Projects that have photographs include, among others, Bankers Trust Company Building, the Banking House for J.P. Morgan & Co., Chemical National Bank, Empire City Savings Bank, Bank of America (Wall Street), Equitable Trust Building, Gulf Refining Building (Pittsburg, PA), Mellon National Bank (Pittsburg, PA), Nagoya Branch of the Mitsui Bank (Tokyo, Japan), Red Cross Memorial to the Women of the Civil War, and the John B. Trevor Residence (11 East 91st Street, NYC). The collection also includes certificates and diplomas of Goodhue Livingston, as well as a 1994 certificate of commendation from BELCA (Building and Equipment Life Cycle Association) for the Mitsui Bank in Tokyo, Japan; an issue of "The Architects and their Works" (Vol. 1, No. 4) on Trowbridge & Livingston dated 7 Nov 1908; and 10 architectural drawings for the Residence of Orme Wilson, Jr. Esq. on 11 East 64th Street (New York, NY).

Lathrop Douglass (1907-1981) was an architect and urban planner who was a pioneer in the design of shopping centers in the United States and Europe.

Included are 60 photographs, approximately half of which show architectural drawings and models of the New York State Capitol at Albany, and views of the Capitol under construction, circa 1860s-1880s. These primarily show the work of Eidlitz, Richardson and Company, who designed the Capitol. Projects of Fuller and Laver and I. G. Perry for the Capitol are also depicted. The rest of the photographs show other projects by Leopold Eidlitz and his firm including the American Exchange Bank, New York City, 1857; Broadway Tabernacle, New York City, 1859; the Continental Bank, New York City, 1856; the Cooper Union, New York City, circa 1886; Dry Dock Savings Bank, New York City, 1875; and Temple Emanu-El, New York City, 1868. Also, unidentified buildings, and buildings by other architects, including Cyrus W. Eidlitz (Association of the Bar of New York, Main Library, New York City, 1895), and Robert H. Robertson (Phillips Presbyterian Church, New York City, 1874). Two original drawings by Eidlitz of Christ Church, St. Louis, Missouri, circa 1859, and a competition design for the New York City Crystal Palace, circa 1852.

The collection includes 55 architectural drawing prints (blue line, wash-off, and electroic static) and small group of papers including specifications, copy of a photograph of Wright on the site, and some statements and financial records. Additional creators in the collection include landscape architect David Lawson, Northwest Mill & Supply Corp., and Taliesin Associated Architects.

Louis Henry Sullivan (1856-1924) was an American architect and partner in the Chicago architectural firm Alder & Sullivan. He is also known as a mentor to architect Frank Lloyd Wright. The core of the collection is made up of 122 drawings given to Frank Lloyd Wright by Louis Sullivan before Sullivan's death in 1924. The Avery collection represents the bulk of what remains of Sullivan's drawings. Most of the drawings in this collection are designs for ornament representing different stages of Sullivan's stylistic development. Some drawings are annotated by Wright. The collection also includes additional donations of drawings, objects, and papers collected over the years.

Papers consist primarily of Smith's files relating to his architectural work containing correspondence with clients, colleagues, contractors, suppliers, and others, with related bills, notes, receipts, accounts, estimates, specifications, time sheets, progress reports, and architectural drawings. Also, portrait photographs of young people (possibly classmates?) in Rochester, N.Y. and Evanston, Ill., circa late 19th century; a class roll card, 1901, for a class taught by Smith at the General Society of Mechanics and Tradesmen, New York; a memo book, undated, containing miscellaneous accounts, sketches, memoranda; correspondence, 1890s, between Ella Smith (Smith's mother) and Lucien Smith and other family members, Rochester, N.Y., and Elmhurst, Ill.; account book, 1891-1902, of Mrs. H. V. (Ella) Smith, Rochester, N.Y.; calling cards, invitations, photographs, letters, bills, receipts, and other, miscellaneous personal documents; student drawings made by Smith when at Columbia University's School of Architecture; drawings for a proposed "academy of art and archaeology" in Rome, 1905-1906; and drawings for Malvina Hoffman's house and studio in New York City.

This collection contains 435 blueprint and diazo working drawings, created between 1946 and 1961, for projects designed by Ludwig Mies van der Rohe. The buildings represented include the 860-880 Lake Shore Drive Apartments, the 2400 Lakeview Avenue Apartments, the Commonwealth Promenade Apartments, and various buildings on the campus of Illinois Institute of Technology, all in Chicago; as well as the Bacardi Company building in Mexico City and the Pavilion Apartments for the Lafayette Park Redevelopment in Detroit. Also included in the collection are full-size working drawings for the Brno Chair, a couch, a dining room chair, the MR chair, and the Tugendhat chair.

The collection consists of 10 student drawings completed by Lydia Patterson while attending Columbia University's School of Architecture. The majority of the drawings are gouache and watercolor with graphite and ink on paper, dated circa 1928 to 1930. The titles and dimensions are as follows: "An Athletic Club" (57 1/2 x 38 1/2 in.)"French Gothic Window" (37 x 58 in.)"A Government Military School" (41 x 33 1/2 in)"Horticultural Society" "A Group of Small Houses" (28 x 39 in.)"A Seaside Lounge Room" (28 x 37 in.)"Private Library #1" (26 1/2 x 36 1/2 in.)"Private Library #2" (26 x 36 in.)"Monumental Observation Tower" (23 1/2 x 36 1/2 in)"Separate Floor Plan for Observation Tower (#9)" (27 x 18 in).

Max Gordon (1931-1990) was an internationally renowned architect who specialized in the design of galleries and exhibition spaces for modern and contemporary art. The collection is composed primarily of project files, architectural drawings, photographs, correspondence, legal papers, personal diaries, and student sketchbooks.

This small collection contains primarily photographs, supplemented by a very few architectural drawings, specifications, and reference materials related to the projects and designs of Bertram Grosvenor Goodhue and his successor firm, Mayers, Murray & Philips, in the New York City region and in other locations in the United States. It also includes reference materials and a photograph of Betram Goodhue's New York City office.

Architectural drawings and photographs of buildings designed by the firm dating approximately from its founding to the 1950s. Among those represented are buildings at the World's Columbian Exhibition, Chicago, 1893; Pennsylvania Railroad Station, New York, 1906-1910; restoration, 1903, of the White House, Washington, D.C.; buildings at Columbia University's Morningside Heights campus, New York; Boston Public Library, Boston, Mass.; E.W. Morgan mansion; Municipal Building, N.Y.; Col. Elliott Shepherd House, Scarborough, N.Y.; buildings at Amherst College, Amherst, Mass.; Bellevue Hospital, New York; various New York City residences; and others. Also included are competition drawings for the New York Public Library; miscellaneous drawings and sketches; photographs of the partners and of other members of the firm; lists of the firm's work; clippings of articles about the firm; lists of the firm's employees; billing records, 1953-1955; account books, 1940s-1950s; bank books, 1895-1955; award certificates; and other office miscellany.

Included in this collection are nineteen albumen photographs and one lithographic print of architectural drawings submitted by architects for the competition to design the New York State Capitol building in Albany, circa 1866-1870. Competing architects and architectural firms represented here include Adams & Worthen, Louis Burger, Fuller & Gilman, Fuller & Laver, Schulze & Schoen, and several unidentified architects. Of note are drawings for the New York State Capitol by Louis Burger and Schulze & Schoen bearing inscriptions to Obadiah B. Latham, a member of the Capitol Commission. Also included are nine photographs showing construction in progress on the Capitol between July and September, 1869. Photographs of competition drawings by Schulze & Schoen for the Iowa Capitol, the New York Post Office, and the New York Life Insurance Company Building, as well as an unsigned drawing of the Ohio Capitol building are additionally part of this collection. Several of the images are labeled by the photographer E.S.M. Haines, also practicing as Haines & Wickes, in Albany, New York.

Architectural drawings and specifications for Codman's projects, circa 1890s-1930s, including the Martha Codman house in Washington, D.C.; alterations for Edith Wharton and her husband at their three residences, the Mount in Lenox, Mass., Land's End in Newport, R.I., and their Park Avenue home in New York City; work for the Thayer family of Boston, Mass., specifically Nathaniel Thayer's three homes in Boston, Lancaster, Mass., and Newport, R.I. ("Edgemere"), Bernard Thayer's Beacon Hill houyse in Boston, and Eugene Van Rensselaer Thayer's two houses in Boston and Lancaster, Mass.; the Lucy Dahlgren house in New York City; the Archer M. Huntington house on Fifth Avenue in New York City; interior design for John D. Rockefeller in his house "Kykuit" at Pocantico Hills, N.Y.; interior design work for the Vanderbilt family including Cornelius Vanderbilt's "Breakers" at Newport, R.I. and Frederick William Vanderbilt's mansion in Hyde Park, N.Y. and his house on Fifth Avenue in New York City; Oliver Ames' mansion at Pride's Crossing, Beverly, Mass., and his house in Boston; and interior decoration and alterations for Codman's own homes in Newport, R.I. and Roslyn, N.Y. and his villa in France, "La Leopolda", at Villefranche-sur-Mer. Also, lists, descriptions, and postcards of French chateaux, with related correspondence, circa 1900s-1930s, relating to Codman's bibliography on the chateaux of France; and miscellaneous lists of houses in England and France, correspondence, and printed material.

Also, McKim, Mead & White; Pearsall and Mills; Boring and Tilton; Peabody, Wilson and Brown; Holabird and Root; John B. Peterkin; York and Sawyer; Jackson, Robinson and Adams; George Vernon Russell; John H. Barry; Pliny Rogers; Allen and De Young; Augustus N. Allen; Henry Ives Cobb, Jr.; Bottomley, Wagner and White; Andrew J. Thomas; Harvey Stevenson; R.A. Tissington; John C. Dodd; Walker and Gillette; Grosvenor Atterbury, John Tompkins Assoc.; Donn Barber; Wakefield Worcester; Farrar and Watmough; Henry Wright II; Ralph Thomas Walker; Schultze and Weaver; Henry B. Marsh; Hunter McDonnell; and a few unidentified architects

The material spans the years 1948 to 1958 and documents Paton Price's relationship with Frank Lloyd Wright through the course of planning the New Theater to be located in Hartford, CT. The collection consists of letters, telegrams, publicity material, photographs, and a perspective view of the Theater signed by Wright.

Included are photocopies of Cret's architectural drawings for the Hartford County Building, Hartford, Conn., 1926-1927; the Federal Reserve Building, Washington, D.C., 1936; the Folger Shakespeare Library, Washington, D.C., 1929; and miscellaneous projects. Also, Cret's sketches for monuments (including studies for the Quentin Roosevelt Fountain, 1919), covers and title pages for publications, a bridge, a bas-relief, a map, a medal, and a bookplate, circa 1901-1931. Includes one student drawing from the Ecole des Beaux Arts.

Consists of two framed renderings of the Proposed Metropolitan Opera house, one of the front elevation of the building and one of the interior perspective view of the Auditorium. In addition to the renderings, included are approximately 100+ photo stat and blueprint floor plans, site plans, and elevation drawings.

Architectural drawings for three projects; photographs of architectural drawings and models; photographs of sites before construction, buildings under construction, and interiors and exteriors of completed buildings; and related clippings. The three projects, with original drawings, arethe McGraw-Hill building, New York, 1929-1934, by Raymond Hood, Godley & Fouilhoux, and alterations, 1942-1944, by Harrison, Fouilhoux, and Abramovitz; Hood's first studies for Rockefeller Center, drawn by Walter Kilham, Jr. in 1929; and the Daily News Building, New York, 1929-1947, by Hood and John M. Howells. Also included are the Chicago Tribune Tower, Chicago (Hood won the competition for the project in 1922 - a photograph of the drawing submitted to the competition by architect Eliel Saarinen is included); photographs of models for Rockefeller Center buildings; and miscellaneous and unrealized projects. Also, two albums containing interior and exterior photographs of completed buildings designed by Hood including his American Radiator building, New York, the Chicago Tribune Tower, and others. Biographical material on Hood includes clippings of obituaries, 1934; photographs of Hood and his family, ca. 1890s-1930s, and travel photographs, early 20th century; clippings of articles by and about Hood; and biographical notes on Hood. Of interest is a photograph by Berenice Abbott of the McGraw-Hill building showing the Sixth Avenue El, demolished in 1940.

This collection contains lectures, notes, photographs, correspondence, and architectural drawings documenting the work of Russell Sturgis, and, secondarily, his son, Lyman Sturgis. The materials were created between 1874 and 1932.

Architectural drawings for projects in the United States, largely in the Chicago area, done before 1912; in Australia (where they lived, 1912-1937), including the Federal Capitol of Australia in Canberra, 1912, and Castlecrag, a planned suburb of Sydney, undated; and India, 1936. These projects were designed by Walter Burley Griffin and most of them were rendered by Marion Mahony Griffin. The extent to which some of these projects were also designed by Mahony Griffin is not certain.

Also, typescripts of lectures delivered by Boring in architecture courses at Columbia, 1932-1933, miscellaneous typescripts of articles and printed materials, 1930-1933, and a typescript of Boring's autobiography, MEMORIES OF THE LIFE AND WORK OF WILLIAM A. BORING, circa 1937. Also included are four sketches by Henri Gauthier, Edward Tilton, Maurice Sashin, and Joseph Laudin.

Watercolor drawings of interior walls and ceiling designs, late nineteenth-century, probably American.