Collections : [Avery Drawings & Archives]

Includes drawings for Acme Quilting, Mission Hill Artist Housing, Boston City Hall, Pillowtex showroom and offices, City of Cotton Housing, and various residential projects.

Freedlander's architectural drawings for the proposed buildings for the Appellate Division of the Supreme Court, First Judicial Department of the State of New York, at 95 Park Ave., between 39th and 40th Streets, New York City.

The collection is made up of Katherine C. Moore's research files on the careers of Trowbridge and Livingston. The files include Moore's notes, clippings, and sometimes photographs of the buildings designed by the firm. Projects that have photographs include, among others, Bankers Trust Company Building, the Banking House for J.P. Morgan & Co., Chemical National Bank, Empire City Savings Bank, Bank of America (Wall Street), Equitable Trust Building, Gulf Refining Building (Pittsburg, PA), Mellon National Bank (Pittsburg, PA), Nagoya Branch of the Mitsui Bank (Tokyo, Japan), Red Cross Memorial to the Women of the Civil War, and the John B. Trevor Residence (11 East 91st Street, NYC). The collection also includes certificates and diplomas of Goodhue Livingston, as well as a 1994 certificate of commendation from BELCA (Building and Equipment Life Cycle Association) for the Mitsui Bank in Tokyo, Japan; an issue of "The Architects and their Works" (Vol. 1, No. 4) on Trowbridge & Livingston dated 7 Nov 1908; and 10 architectural drawings for the Residence of Orme Wilson, Jr. Esq. on 11 East 64th Street (New York, NY).

This small collection contains primarily project records--including drawings, files, reports, correspondence, and photographs--related to the architectural practice of Kenneth Coles. The majority of projects, including commercial, institutional, and residential, are located in New York State, with a few commissions for Citibank and Grindlay's Bank and for private residences located overseas.

This collection contains original architectural drawings for projects in New York City and unidentified locations, an account ledger for work done on the Brick Presbyterian Church, an agreement between the Trustees of Columbia College and Thompson for the erection of the Columbia Grammar School, and a bill for work on the Trademens Bank, all in New York City.

This small collection contains primarily photographs, supplemented by a very few architectural drawings, specifications, and reference materials related to the projects and designs of Bertram Grosvenor Goodhue and his successor firm, Mayers, Murray & Philips, in the New York City region and in other locations in the United States. It also includes reference materials and a photograph of Betram Goodhue's New York City office.

Legal contracts between the Owners, Managers, Architects and Builders regarding various aspects of the construction work on Theatre #10 of the Metropolitan Square Development project. The contracts detail what was specifically to be done by the construction crews and what was and was not included in each part of the specified construction process.

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.