4 floor plans of 7th floor, 7th floor mezzanine, 8th floor, and 8th floor mezzanine of Hotel des Artistes located at 1 West 67th Street.

Collection of clipping files from the magazine Country Life. Unknown origin of collector, but possible formed by the Architecture pepartment at Columbia University as a reference collection.

Blueprint of Bush Terminal in Brooklyn, New York.

Photographs, lantern slides, and illustrations of numerous library buildings in the United States and throughout the world, circa late 19th through early 20th centuries. Of particular note are photographs, undated, of people (possibly faculty and students) at New York Public Library's library school.

The collection is made up of 32 drawings in pencil, pastel, ink, and/or gouache on paper, vellum, or board. Included are designs for light fixtures, chairs, tables, mirrors, sofas in styles ranging from Baroque revival, Greek revival, Chinese Chippendale revival, and Regency revival.

Rocco Revival, gold-plated door knobs and keyhole escutcheons from the Sherry-Netherland Hotel.

Specifications document, 6 pages in manuscript, 12 x 8 inches, 1882; Letter to David Whipple offering to sell pier rights, 1878; Letter from Whipple to wife concerning pier, 1884.

Drawings show plans for new addition on promoenade deck and exsiting lounge renovations; also includes a rendering of the exterior of Uris Hall.

Small collection of primarily English drafting tools dating from around the mid to late 19th century.

This collection contains original and reprographic correspondence, financial papers, black and white photographs, and reprographic architectural drawings relating to the commissioning, design, and construction of the Kaufmann Conference Rooms in the Institute of International Education's headquarters in New York City, N.Y., between 1961 and 1966.

This collection primarily contains architectural drawings, photographs, business records and reference materials related to the projects and designs of architectural and engineering firm Abbott, Merkt and Company. A subsidiary portion of the collection includes drawings, photographs and papers related to the life and career of Richard H. Tatlow, III, president of Abbott Merkt, as well as the firms and agencies for which he also worked.

Max Abramovitz (1908-2004) was an American architect, whose firm Harrison & Abramovitz was one of the leading architectural practices in post-war America. Major commissions include Lincoln Center's Philharmonic Hall and the United Nations complex. The collection contains over 14,500 drawings, over 5,000 photographs, 24 boxes of manuscript material, 7 boxes of oversize material, 23 boxes of financial records, 5 boxes of reprint tear sheets, 36.75 linear feet of specification notebooks, photo albums, sketchbooks, art and artifacts.

The collection consists of 4 film reels, which have been digitized and are available online to Columbia affilates (and available to our public in our reading room).

This collection contains documents, statements, minutes, correspondence, notes, and reference materials related to the activities of the Joint Advisory Committee on Planning and Development of the United Nations Headquarters. Although materials relating to Wallace Harrison appear in this collection, there is otherwise no direct connection between this group of papers and the team of international architects who designed the Headquarters.

8 engravings signed A.V., after drawings by S.B. (usually identified as Sebastiano Serlio). The initials S.B. appeared on impressions of the first state only, which were made in Venice in 1528. In the second state, the titles were re-engraved by Agostino Veneziano (also known as Agostino Musi), who redated the plates 1536 and numbered them; these were printed in Rome. In the third state, a later publisher, Antonio Salamanca, added his name: Ant. Sal. exc. These engravings are third state. This set of 8 prints contains nos. 1, 2, 3, 5, 7, 9, 10, 11. Plates 4, 6, 8 are lacking.

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.

This collection primarily contains original correspondence--including letters, telegrams, and postcards-- to California architect Robert D. Farquhar from Chester A. Aldrich. Also included is a small group of letters from Amey Owen Aldrich to Farquhar. Most letters are accompanied by envelopes; a very few contain photographs, clippings and other ephemera. Matters discussed in the correspondence vary widely from intimate personal subjects to observations and reports on the work of Carrère & Hastings and Delano & Aldrich, the American Red Cross and its work with soldiers in Italy during World War I, the rise of Fasicsm in Italy, economic hardships during the Depression, and the state of American and European architecture.

This collection includes original and reprographic architectural and engineering drawings, specifications, correspondence, and photographs documenting the design and construction of High Lawn, William B. Osgood Field's estate in Lenox, Massachusetts. The main house and related outbuildings were designed by the prominent New York architecture firm Delano & Aldrich between 1908 and 1914. The farm buildings and several other estate structures were primarily designed by New York architect John C. Greenleaf. The collection also includes copy photographs of the Field family and guests at High Lawn during the 1910s. Also included is a small group of drawings and other papers related to neighboring properties in Lenox; as well as drawings for Field's townhouse at 645 Fifth Avenue in New York City, designed by Hunt & Hunt, with interior work by Stuart & Stuart, dating from 1903-1911; and drawings for a building at 8-10 W. 37th St., in New York City, designed by John C. Greenleaf in 1923.

Installation photographs inside the Arthur Ross Architecture Gallery, Buell Hall, Columbia University.

The collection is made up of clippings, photographs, notes, and other research material gather on various architectural projects by Calvert Vaux in support of the writing of the publication Calvert Vaux: Architect & Planner (1994).

This collection consists of sample forms for construction companies, from printer. There are not project records or personal papers related to Almirall or his work.

This collection primarily contains 177 groups of English, Continental and American drafting sets and individual instruments dating from circa 1700 to 2004. These instruments were used to create technical drawings, typically by architects, draftsmen, engineers, surveyors, and students. Complementing the instruments are a small group of miscellaneous items, including medals, a model, a necktie, and a charm bracelet, and a large group of published materials, including trade catalogs and other technical, biographical, historical, and scholarly writings about drafting and scientific instruments and related subjects.

New York architect, historian, and attorney Andrew Alpern co-wrote Holdouts! The Buildings That Got In The Way with Seymour Durst. Holdouts! examines over 50 examples of New York City holdouts or building owners who refuse to make way for office buildings and other urban designing projects.

The collection consists of research papers complied by Annice Alt in preparation for the book Boak & Paris / Boak & Raad: New York Architects (2014), and includes newspaper clippings, notes, contemporary photographs of buildings, real estate advertisements, and building information reports created by Alt. The collection also inclues 10 original ink on linen drawings for the Boak & Raad limited profit housing project, Leland House (Bronx, NY); one perspective rendering by Rowe Langston for the David Rose 1945 commissioned apartment, The Thornley, at 215 E. 79th Street (New York, NY); and reproduction of two drawings for the Boak & Paris apartment house 331-345 West 57th Street (New York, NY).

A collection of 44 original photographs by Yosei Amemya, New York. The subjects include private gardens, office buildings and houses (interior and exterior views) and a few bridges. The majority are printed in a grainy, soft focuse technique and signed in pencil by the photographer. Also included are 3 halftone prints of bridges after photos by Amemya.

The poster shows a reproduction of a longitudinal section of Low Memorial Library at Columbia University.

Undated photographs taken circa 1940s-1960s show interiors and exteriors of eighteenth and nineteenth century buildings in Kentucky. Buildings include The Grange, near Paris, built 1818; the Old Capitol, Frankfort, built 1827-1829; Adam Childers House, Versailles, built circa 1845; Betty Bryan Place, Harrodsburg Pike, built circa 1843; Holloway House, Richmond, built circa 1838; Castlelawn, near Lexington, undated; Junius Ward Place, near Georgetown, built 1859; Warwick, at Danville, built circa 1845; and others.

Included are the architectural drawings pertaining to the Church of St. Vincent Ferrer in New York, N.Y. These drawings include plans, elevations, sections, and details in full-scale, and the dates of the drawings span 1908-1928. The drawings are cataloged separately in CLIO and their call numbers are NYDA98-F0 through NYDA98-F6; their accession numbers are 1996.011.00001 through.00452.

Original drawings for published series containing illustrations of facades, floor plans, interiors and decorative details from 77 of America's most beautiful homes representing the Georgian era (1714-1830).

Leopold Arnaud was a member of the Columbia University's School of Architecture faculty for 31 years and dean from 1937 to 1960. The collection consist of architectural drawings, correspondence, student photographs, student sketchbooks and papers documenting the 1944-1945 Architectural Competition for Permanent Building Construction at the United States Military Academy at West Point, New York.

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.

The Charles Dudley Arnold photographic collection is composed of three parts. The first is a collection of 47 platinum print photographs showing views of the Columbian Exposition. These photos were formerly mounted in an album from the library of McKim, Mead & White, architects. This album was v.10 of a 14 volume "collection of albums of photographs, illustrations from periodicals, clippings and sketches depicting works of the firm," now in Avery Classics at AA 712 M195.

This small collection includes correspondence and photographs relating to Atterbury's residence in Southampton, N.Y., designed by New York architect Stanford White; also a clipping and photograph of Atterbury.

Collection of letters and telegrams centered around the remodeling of a house called "Dunlora" aka Merry Hill, located at 8605 Park Heights Avenue in Pikesville Maryland. The house was built for Robert Brent Keyser in 1899 by the firm Hoppin and Koen of New York. The remodeling was done by American architect Grosvenor Atterbury. The vast majority of the letters are between Atterbury (and his firm) and Robert Brent Keyser. They describe various plans and issues surrounding the remodeling of the house. A few letters discuss construction at the Homewood campus of Johns Hopkins University. Some of the other names mentioned in the letters are J.L. Marshall & Son (the builders), Mr. Sperry, Judge Harlan, Morgan-Harjes, Mr. Manly, and Charles E. Reeder.

Felix Augenfeld (1893-1984) was a Viennese architect and designer active in Austria, Czechoslovakia, and Croatia prior to 1938, in London from 1938-1939, and in the United States from 1939 until his death. His work consists primarily of residential projects, including apartments, weekend homes, beach houses, and residences, and includes both architecture and interior design. Like other architect-designers of the time, his work included original furniture and textiles to create a cohesive design experience. Augenfeld's design for Sigmund Freud's desk chair, now at the Freud Museum in London is probably his most well-known work. This collection contains photographs, drawings, blueprints, and sketches of over eighty of Augenfeld's projects with the majority focused on his years in America but with a substantial photograph collection that illustrates his Viennese work. Beyond project records, the collection includes a number of Augenfeld's professional papers that contextualize his work through his research material, portfolios, and scrapbooks, and his personal papers which include his own writings, poetry, correspondence, and photographs of friends and family.

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.

The materials that comprise the Vertical File have been collected and added to from a variety of sources by former Avery Librarians. The vertical file contains clippings, pamphlets, reprints, and other miscellaneous materials relating to persons, places, organizations, and topical subjects relating to architecture, housing, and city planning. The purpose of the vertical file was to arrange and store small items, memorabilia, and ephemeral material on a variety of topics to facilitate access by researchers. For the most part, the vertical file contains printed items only. Manuscript material and other unique items were, generally, not placed in the vertical file. In some cases, manuscript material has been removed from the Vertical File and placed in its corresponding collection.

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).

This small collection of Bach's professional papers contains primarily correspondence and papers related to his consulting work for the American Institute of Interior Designers and his correspondence with UNESCO and other organizations regarding laws against design piracy. The collection also contains correspondence, notes, and clippings concerning his research on industrial design topics, including the value of better design in industry, an ideal industrial design school, and specialized museums serving industries. Also included in the collection are typescripts and published copies of some of Bach's writings and lectures.

Includes misc. pen, pencil and watercolor drawings of European travel. Also includes a model for Trinity Church in Manhattan that formed part of the collection of original material in the Avery Architectural Library.