Collection consists of Adele Mowton DuBreuil's diploma from the New York School of Fine and Applied Art (now, Parsons School of Design) in advertising display, a black and white photographic portrait of her after graduation, and 24 small, black and white photographic prints depicting her student graphic design work, 1917-1919. Most of the designs are advertisements for consumer goods; two are World War One propaganda posters.

Notes taken by Cleora Clark Wheeler during lectures given by Frank Alvah Parsons at the New York School of Fine and Applied Art (later, Parsons School of Design), which Wheeler attended in 1912-1913. Also included is a set of bookplates, which was the focus of Wheeler's later career.

Constance P. Brown attended the New York School of Fine and Applied Art (later, Parsons School of Design) from 1913 to 1917, and worked as secretary to Frank Alvah Parsons in the teens or 1920s. The collection consists of correspondence from Parsons to Brown, faculty announcements, school circulars, interior decoration class rolls, clippings from 1913-1934, and correspondence with Parsons School of Design Alumni Association.

Francis Geck (1900-2005) graduated from the New York School of Fine and Applied Art (later, Parsons School of Design) in 1924 and taught interior design at the school's Paris Ateliers until 1927. In 1930, Geck became a professor of fine arts at University of Colorado, where he taught for 39 years. The papers contain correspondence with Parsons administrators, design sketches and student work, publications, and course materials.

The collection contains correspondence from Frank Alvah Parsons, president of the New York School of Fine and Applied Art (later, Parsons School of Design), to alumni James Wilfrid Kerr and Rose Netzorg Kerr, in addition to a short manuscript written by James Wilfrid Kerr upon Parsons' death. The tribute relates Kerr's experiences as a World War One veteran studying art under Parsons' tutelage.

Frank Alvah Parsons (1866-1930) began as an instructor at the New York School of Art in 1904. He became director in 1911, renaming the school the New York School of Fine and Applied Art to reflect his reorientation of the institution toward practical design disciplines. The school was later renamed to honor his leadership. The collection consists of published editions of Parsons' lectures, and prints he used to illustrate them.

Harry B. Baker (1868-1941) was an illustrator who taught at the New York School of Fine and Applied Art (which became Parsons School of Design) in the early 20th century. Before moving to New York, Baker traveled the American West. He illustrated bar fights, cowboys, Native Americans, and street scenes. The collection includes photographs of Baker and his students, a letter from Frank Alvah Parsons, and illustrations by Baker.

Jane Campbell Bannerman studied graphic design and illustration at the New York School of Fine and Applied Art (now Parsons School of Design), graduating in 1930. She worked for several firms as a graphic and interior designer, and later opened her own interior design business. The collection mainly consists of student work, commercial design work, and travel watercolors, as well as clippings, photographs, and printed items.

Lyman Martin (1908-2003) graduated from Parsons School of Design in 1939 and joined Thedlow, an interior decoration firm. At Thedlow, Martin created interiors and watercolor renderings, and designed rugs and murals. In 1969, Martin became president of Thedlow, remaining until its closure in 1979. The collection includes student work, interior drawings, a travel diary, floorplans, photographs, clippings, and exhibition files.

Margaret McKay Tee (1882-1955) came to New York from Cripple Creek, Colorado in 1902 to attend Cooper Union. Frank Alvah Parsons later hired Tee as a student instructor at the New York School of Art. After returning to Colorado, Tee carried on a correspondence with Parsons. Tee's papers include letters from Parsons, photographs of Tee's paintings, and an autobiographical essay relating Tee's upbringing and her experiences as a young art student.

A student notebook kept by Marion Reed, who attended Parsons School of Design's Paris Atelier in the summer of 1927. The notebook contains lecture notes, postcards and class handouts.

Mary Frances Gettrust graduated from the New York School of Art (later, Parsons School of Design) in 1939 with a diploma in Costume Design and Illustration, and served as an instructor of Costume Illustration at Parsons in the 1940s. The collection consists of a partial student notebook of costume sketches, printed samples of Gettrust's work as a fashion illustrator, correspondence from Parsons Alumni Association, and Parsons-related ephemera.

William Merritt Chase established Parsons School of Design in 1896 as the Chase School of Art. The name of the school changed to the New York School of Art in 1902, and to the New York School of Fine and Applied Art in 1909. This charter documents the 1909 name change. In 1940, the school was renamed Parsons School of Design in honor of former President Frank Alvah Parsons and to differentiate it from other, similarly named institutions.

This collection consists of publications from Parsons New School of Design and its affiliate programs, including catalogs for overseas schools, and continuing education and AAS programs. Catalogs hold information on school policies and admissions requirements, course descriptions, faculty rosters, and examples of student work. Materials for the years 1896-1912 consists primarily of photocopies of print advertisements for the Chase School of Art.

Includes 1,425 photographs, contact sheets and negatives documenting Parsons student and campus life, including exhibitions, award and fashion shows, guest lectures, field trips, and campus construction projects.

Contains 236 posters created for academic departments and administrative offices of Parsons The New School for Design, including promotional posters for summer sessions and study abroad programs, recruiting by specific departments, and publicity for exhibitions, public programs, and internship fairs. With the exception of a 1927 poster advertising a dance, the series does not contain any material created prior to 1956.

This collection consists of correspondence, clippings, and research related to the Parsons table, a conceptual table design thought to have originated at the Paris Ateliers, the precursor to Parsons Paris, in the 1920s or 1930s and often attributed to French designer Jean-Michel Frank (1895–1941). The materials were assembled by the New School Archives staff as part of a Parsons School of Design Design and Management Department project in 2002.

Raymond S. Waldron, Jr. (1913-2002) attended the New York School of Fine and Applied Art (later, Parsons School of Design) from 1938-1941. After serving in World War II, Waldron worked for Lord & Taylor. In 1965, he established his own interior decoration firm. The collection includes his student work, a travel sketchbook, and professional files. Waldron's student work includes notebooks, instructor handouts, sketches and renderings, and tracings. A travel sketchbook reflects Waldron's later design studies in New York, France and Italy. Materials from Waldron's professional career include project files, design research, stereo slides of the Blair House, among other projects, and publicity for his business.

Roselaine Boylan studied graphic design and illustration at Parsons School of Design in the late 1920s-early 1930s. The hand-drawn commercial artwork in this collection represents five assignments from her classes.

Violet Holsinger Mueller (1907-2003) studied fashion design at the New York School of Fine and Applied Art (later, Parsons School of Design) from 1926 through 1929. She worked as an interior designer for Stix, Baer & Fuller, a St. Louis-based department store, and founded her own design consultancy in Belleville, Illinois. Her papers include personal materials, and documentation created during her studies at Parsons and her design career.