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Materials include: Expertises (correspondence, images, fading fax paper regarding artwork consultations); Course Materials; Writings (reviews, articles, manuscripts, art catalog text, drafts of manuscripts, published and non-published materials, speeches and lectures); Correspondence; Notebooks; Columbia Files (any materials and documents regarding his involvement with the department, art humanities or University at large); Research Files (materials he used as he wrote his manuscripts); Muraro (any documents concerning this center in Venice, since he was so instrumental in getting the bequest for CU); Save Venice (and documents concerning his involvement with this organization); Subject Files (evidence of his interests in the art history field.); Awards and Honors (any certificates or honors you would want to include, including diplomas); Photographs (of people or events, not artwork)

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.

The collection consists of the manauscripts of Fuhrmann's articles, notes, and related items on the history of printing and graphic arts. A great many of Fuhrmann's articles were about Johann Gutenberg. There is also correspondence, primarily with people well known in the printing trade.

Strachan's correspondence with his primary publisher, Peter Owen of London relates chiefly to the nuts and bolts of translation and publication. The translations that are the subject matter of the letters are of Hermann Hesse, Caesar Pavese, Marc Chagall, Jean Cocteau, and Julien Gracq. The majority of the letters are accompanied by retained copies of the replies of Peter Owen. Included is Owen's correspondence with the American publisher George Wittenborn.