Correspondence, manuscripts, documents, photographs, subject files, and printed materials belonging to Russian émigré artist and collector Nikolai Vasil'evich Zaretskii (1876-1959). The collection is a mixture of materials created by or for Zaretskii, and materials collected by him.

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.

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.

Correspondence, manuscripts, documents, photographs, subject files, drawings and printed material of the Vserossiiskii zemskii soiuz (All Russian Zemstvo Union). The correspondence, spanning the years 1920-1944, is for the most part addressed to Porfirii N. Sorokin, Executive Secretary of the organization's Vremennyi glavnyi komitet (Temporary Executive Committee), the coordinating unit for all the institutions of the Zemstvo Union. The manuscripts include writings by N. I. Astrov, V. D. Kuz'min-Karavaev, and others. The documents are almost exclusively minutes of the Temporary Executive Committee's meetings from the period 1919-1924. The photographs, for the most part unidentified, are of Russian refugee settlements and White Army encampments in the area of Constantinople and Gallipoli, ca. 1921. The subject files include some financial records, and the printed material include the Vserossiiskii zemskii soiuz bulletin from 1916-1921 as well as publications about the Rossiiskii Zemsko-gorodskoi komitet and the Vserossiiskii soiuz gorodov.

Correspondence, manuscripts, photographs and subject files of Witte. The correspondents include Ivan S. Aksakov, Tsar Aleksander III, Tsar Nicholas II, Konstantin P. Pobedonost︠s︡ev, I︠U︡riĭ Samarin, Lev N. Tolstoĭ and Kaiser Wilhelm II. The manuscripts, which constitute over half of the collection, consist of Witte's memoirs and of his work on the Russo-Japanese War, and include a signed typescript essay by Lev N. Tolstoĭ. The photographs depict the signing of the Portsmouth Treaty ending the Russo-Japanese War (Portsmouth, N.H.). The subject files, which are primarily typescript copies of documents, refer to such topics as the various assassination attempts on the tsars, questions of agrarian reform, relations with Germany, and the siege of Port Arthur. There is also a framed pen and ink drawing depicting an event in Witte's public career.

Correspondence, manuscripts, photographs, drawings and subject files primarily relating to Vladimir Visson's years as exhibitions director of the Wildenstein Gallery. The extensive subject files concern the Hallmark Art Award and exhibitions Visson mounted for the Wildenstein Gallery including shows on Gauguin, Pissarro, Renoir, Toulouse-Lautrec and Van Gogh. Also included are Visson's original manuscripts on Russian painters and autobiographical writings. There is correspondence from artists including Eugene Berman, Amédée Ozenfant and Eugene Speicher, and authors such as John Gunther, Paul van Zeeland and Louis Auchincloss.

Documentation of the founding Director (1937-1969) of MoMA's Department of Education and the Department's programs during his tenure: exhibitions and teaching materials circulated by the New York City High Schools Program, classes at the War Veterans' Art Center and People's Art Center, the Children's Art Carnival at MoMA and overseas, and summer art classes at the Art Barge; D'Amico's extra-MoMA involvement in progressive museum art education, including his articles, speeches, and participation in the National Committee for Art Education; as well as personal writings, correspondence, honors, and awards.

Collection contains watercolor renderings, sketches, technical drawings (ground plans, elevations and details), photographs, glass plate and acetate negatives, scrapbooks, set models and some related papers covering Urban's career in Vienna and New York as an architect, set designer, decorator and illustrator. There is a thorough representation of his New York career including his set designs for Florenz Ziegfeld (1915-1932) and the Metropolitan Opera (1917-1933). The collection also contains information on Urban's work for William Randolph Hearst as art director for Cosmopolitan Studios, his exhibitions including his 1921 Wiener Werkstätte store, and his many architectural projects. Biographical information and research gathered by Richard Cole and Randolph Carter including contributions from his daughter,Gretl Urban, and biographical notes and some letters from his widow, Mary Urban, are also present.

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.