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.

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.

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.

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).

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.

Photographs of buildings and of architectural drawings of buildings, residences, schools, clubs, and other projects (undated and circa 1910s-1920s), designed by Jacobs, many of which are located in New York City.

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.

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.

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.