Search

This collection contains approximately 5,500 photographic prints and 12,400 negatives taken and used by the Spectator. The photographs consist of black and white, silver gelatin prints and 35mm negatives. The bulk of the images are portraits, with many press photographs provided to the newspaper by outside sources. Not all prints have corresponding negatives. Photographs were filed together by name so that several views can be found in one folder. The original folder-level description was maintained.

The records include addresses, annual reports, correspondence, memos, minutes, program files, newsclippings, administrative records, photographs, video tape, and film. They include material dating from the decades prior to the establishment of the settlement which shed light on the philosophy and motivation of its founders, and offer a unique view of the first wave of the settlement house movement in America. The records document social conditions, demographic change, political activity and philanthropy in New York City. Addresses by East Side House founder Everett P. Wheeler, included in Series I, document his family history and career as a lawyer and civic reformer prior to the founding of East Side House. Wheeler's correspondence details his role in establishing the settlement and managing it during its first decades.

Correspondence, manuscripts, notecards, tabulation sheets, microfilms, photographs, and photostats. The bulk of the collection is made up of his Columbia University doctoral dissertation, THE OLD STOCK COMPANY SCHOOL OF ACTING; A STUDY OF THE BOSTON MUSEUM, and related research materials. The dissertation, published in 1945, uses the Bostom Museum Stock Company to exemplify the nature of American dramatic arts in the nineteenth century vis-a-vis professional theater organizations and their dual purpose of producing shows and training actors. The research materials appear in a variety of formats: chronological lists on notecards recording the actors that performed in particular plays; tabulation sheets that fulfill many purposes, such as recording each actor's experience, the roles the actors played, and the years that they were active with the company. Photographs include those taken of theater sets, actors in costume, and pictures of the Museum building. Photostats and microfilms are almost entirely reproductions of advertisements and flyers

Professional and personal files including Armstrong's correspondence with professional associations, other engineers, and friends, his research notes, circuit diagrams, lectures, articles, legal papers, and other related materials. Of his many inventions and developments, the most important are: 1) the regenerative or feedback circuit, 1912, the first amplified radio reception, 2) the superheterodyne circuit, 1918, the basis of modern radio and radar, 3) superregeneration, 1922, a very simple, high-power receiver now used in emergency mobile service, and 4) frequency modulation - FM, 1933, static-free radio reception of high fidelity. More than half the files concern his many lawsuits, primarily with Radio Corporation of America, over infringement of the Armstrong patents. Litigation continued until 1967. Other files deal with his work in the Marcellus Hartley Research Laboratory at Columbia University, 1913-1935, and with the American Expeditionary Forces in France during World War I, his Air Force contracts for communications development, Army research during World War II, the Radio Club of America, the Institute of Radio Engineers, FM development at his radio station at Alpine, N.J., the use of FM in television, his involvement in Federal Communications Commission hearings and legislation, and his work with the Zenith Radio Corporation. Also, letters to H.J. Round

The collection includes mostly drawings for Tudor's furniture designs and are arranged by drawing number. Notable projects include the design of the Interchemical Corporation offices, in collaboration with Robert Meyer, as well as the Vanadium Corporation of America offices. The collection also includes 9 sketchbooks. Sketchbooks #1-7 and #9 consist of drawings made by Tudor while likely an apprentice. Sketchbook #8 contains drawings made while working for White, Allom & Co. Notable clients include "Dr. A", "R.G.L." The scrapbook contains clippings and photographs presumably from his professional practice as some of the photographs are labeled "E.J. Tudor." Notable projects include the Rolling Rock Club (Pennsylvania), Dixon House (unknown location), Hampton Court (England), Whitemarsh Hall (England), Mellon Institute (Pittsburgh) and Henry C. Frick (New York). Other papers include correspondence related to the design of the Interchemical Corporation offices, collected print material, 21 photo negatives depicting various travel sites and 13 color charts arranged by manufacturer. The collection also contains lantern slides, which were used by Tudor to teach interior design at New York University. The slides show architectural views and details particularly English, French and American designs as well as interior views, details and furniture.

A large collection of original comic and illustration art; a considerable number of articles of clothing; tapes and CDs; documents; photographs; ephemera.

Photographs of Columbia University campus, students, and events taken by Columbian photographer Frank Pokorny. Photographs, mostly taken for the Columbia College yearbook, document student life at the university in the mid- 1960s.

The records include annual reports, board minutes, budgets, by-laws, correspondence, memos, publications, reports, scrapbooks, photographs and printed material. They document the settlement and its antecedent institutions from 1854 to 1994, offering a unique view of the first wave of the settlement house movement in America, as well as related philanthropy and social welfare activities in New York City over a 140 year period. The origins of Goddard-Riverside Community Center are documented in Series I, which includes eight institutional subseries. These records provide a wealth of information on philanthropic, social welfare and settlement work from the mid-19th century through the 1950s. Series II - IV document the activities of the settlement from 1959 to the 1990s, with a particular emphasis on the urban renewal period of the 1960s. Items in Series VII include photographs of staff, activities, facilities of Goddard-Riverside Community Center, as well as several of its predecessor institutions.

This collection includes records from the Chinese Industrial Cooperatives (CIC, 工業合作社/工业合作社), China Aid Council (CAC, 美國援華會/美国援华会), and United Service to China (USC, formerly United Relief to China/URC, 美國援華聯合會/美国援华联合会/美國援華救濟聯合會/美国援华救济联合会). The records contain correspondence of individuals who participated in the cooperative and those associated with it; typewritten reports of sub-units to the parent organization; periodicals and other publications issued in Chinese by the three regional headquarters (the early ones are probably quite rare); publications in English by these headquarters and by American committees formed to aid in the movement; mounted photographs showing the work of the cooperatives and their leaders; albums of newspaper clippings on the movement, emanating from the U.S. and abroad; maps showing locations of cooperatives; pencil sketches and watercolors of cooperatives at work; and other material concerning this important organization which was largely responsible for China's ability to feed and clothe, and care for the people during the war.

Collection includes James Renwick's sketches, 1813, for the layout of Columbia University's second campus on Park Row (there have been four campuses to date: the first on Wall Street, the third on 49th Street and Madison Avenue, and the current campus in Morningside Heights), and a medal awarded him, 1824, by the Franklin Institute, Philadelphia. James Renwick, Jr. is represented by his architectural drawings of St. Patrick's Cathedral, New York, which he designed. Some of the drawings are signed by Bertram Grosvenor Goodhue. Also, published drawings of the Cathedral, 1886; negatives and photographs, circa 1860s, showing the Cathedral under construction; interior and exterior photographs, circa 1930s-1960s, of the Cathedral; and photographs of Grace Church, New York, also designed by James Renwick, Jr. Renwick family correspondence, 1930s, and typescript copies of 19th century Renwick family correspondence relating to family history and genealogy; photographs of James Renwick, Jr; typescript copies of family Bible records, 1792-1863; Renwick coat of arms.

Correspondence, manuscript music scores, copies of scores, playscripts, scenarios, watercolor drawings and other stage designs, contracts, legal papers, programs, clippings and other printed materials, microfilms, records, tape recordings, and photographs. Among Moross's work are the musical play, "The Golden Apple"(1954), dance music for "Ballet Ballads"(1945) and for "Frankie and Johnny"(1938), the film score for "The Big Country"(1958) and for "The Cardinal"(1963), and his Symphony No. 1 (1943). There are some financial papers and production records for the staging of his works. Among the cataloged correspondents are Aaron Copland, Agnes George De Mille, Ned Rorem, Virgil Thomson, and Thornton Wilder.

The bulk of this collection consists of more than 22,000 black and white photographic negatives and more than 10,600 black and white photographic prints documenting commercial, institutional, religious, and residential architecture throughout the United States, with particular emphasis on sites in the mid-Atlantic region. These images date from the mid-1930s to Molitor's retirement in the mid-1980s, with the great majority of images created between 1946 and 1980. Also included in the collection are images of landscapes, industrial design, portraits, and events of personal significance to Molitor. In some select cases, color prints, color negatives, color transparencies, and 35mm slides are also available in addition to or instead of the black and white negatives and prints. Researchers are also advised that documents in this collection indicate that when faced with a lack of storage space in 1973, Molitor contacted clients to return inactive negatives that they had comissioned before 1955. In at least some cases, those clients declined to accept their negatives and Molitor subsequently destroyed the images. Thus, this collection has lacunae in the negatives series.

The LaGuardia Memorial House Records document the settlement's activities from its earliest years as "The Home Garden" to its current social service programs for the youth of East Harlem. They offer a unique view of the first wave of the settlement movement in America, and document social conditions, demographic change, political activity, philanthropy and social work in East Harlem over a 90 year period. The records include: annual reports, board minutes and correspondence, headworker correspondence, financial records, fundraising information, and photographs.

Correspondence, manuscripts, photographs, and printed materials. There are manuscripts for his books, short stories, articles, and other writings. The printed materials include books written, edited, and translated by Komroff, as well as his contributions to anthologies and periodicals. There are also a number of books by other authors inscribed to him. Most of the photographs are portraits of literary figures, the majority of which were taken by Komroff.

A negative 16mm. motion picture film of the Dictionary Card Catalog of Columbia University Libraries ca. 1938-1948. The film was meant to be a record copy of the catlog to be used for reproducing it if it were ever mutilated or destroyed. Unfortunately, the quality of the film is so poor that it is unsuitable for reproduction. The films have been retained as a sample of the mid-twentieth century holdings of a large American academic library

The collection consists of Skorino's correspondence, manuscripts, documents, photographs, printed materials and drawings. The correspondence, primarily from the late 1940s through the early 1960s, is chiefly of a personal nature as are the documents. The manuscripts, photographs, and printed materials pertain in large measure to the activities of the Egerskiĭ Polk, its veterans' organization in Belgium, and to other military veterans' organizations in exile. Of particular note are two dozen glass negatives of photographs of Russian military life in the World War I era.

Miscellaneous papers relating to the memoirists who were interviewed by the Oral History Office. Included are original papers, printed materials and microfilm copies of materials not retained by Columbia. One half of the collection consists of original notes, draft transcriptions, related correspondence and documents related to the Radio Pioneer Project. Of those papers only available on microfilm, about one-third have a list of contents

Correspondence, photographs, photographic plates, photostats, clippings, periodicals, and books relating to the history and literature of boxing and the prize ring from Homer to the 20th century. The correspondence, with related clippings, photographs, and photostats, is chiefly addressed to Magriel from outstanding figures in the sports world and from his publishers. It is arranged under general subject headings. Also, an unpublished typescript by Magriel on the history of pugilism.

Correspondence, manuscripts, drawings, photographs, and printed material of Lax. Included are letters of Mark and Dorothy Van Doren and Thomas Merton. The bulk of the collection is comprised of Lax's poetry and journal manuscripts, many written in Patmos and Kalymnos, Greece, and originally sent to Emil Antonucci of the Journeyman Press in New York for publication. Also, printed photographs and unprinted negatives of pictures taken by Lax, primarily in Greece.

Correspondence, manuscripts, playscripts, screenplays, diaries, documents, contracts, financial records, photographs, phonograph records, motion pictures, playbills, posters, sheet music, cartoons, art work, memorabilia, scrapbooks, and printed materials. . The collection consists chiefly of correspondence and production files relating to the creation, production, and performance of their works for stage, screen, radio, and television, such as Leave It To Me and Kiss Me Kate (with music by Cole Porter), Boy Meets Girl, and My Three Angels. Correspondence (with twentieth century authors, playwrights, musicians, political figures, and actors) includes: George Abbott, Jean Arthur, Bennett Cerf, Katharine Cornell, Jo Davidson, George and Ira Gershwin, Alec Guinness, W. Averell Harriman, Lilli Lehmann, Mary Martin, Laurence Olivier, Mary Pickford, Cole Porter, Regina Resnick, Eleanor Roosevelt, Robert E. Sherwood, Lincoln Steffens, Kurt Weill, Rebecca West, and Thornton Wilder. There is also correspondence concerning Bella Spewack's work with the New York Girls' Scholarship, UNRA, and the Sports Center of Israel. In addition to the production files, there are manuscripts and typescript drafts for novels, short stories, and articles by the Spewacks.

Approximately 30,000 negatives and prints of buildings primarily on the East Coast, designed by various architects, including the Baltimore Museum of Art, Constitution Hall and the National Archives Building in Washington, D.C., and several churches and houses, all designed by John Pope Russell; four houses by Electus D. Litchfield; houses and other projects by Grosvenor Atterbury; houses by Peabody, Wilson & Brown; the John Ringling mansion in Sarasota, Florida, among other houses, churches, and office buildings designed by Dwight James Baum; numerous houses and apartment buildings in Miami Beach, Florida, especially those by Russell T. Pancoast and Robert Law Weed; many other houses throughout Florida by architects such as John L. Volk and Treanor and Fatio; and many houses and estates located in suburbs of New York City, particulary Greenwich, Conn., Montclair, N.J., and Mt. Kisco, Locust Valley, Oyster Bay, and South Hampton, N.Y.

The records include annual reports, correspondence, memos, minutes, program files, news clippings, administrative records and photographs. They document the agency from its origins in a committee led by the Lenox Hill Neighborhood Association to its work during the 1990s providing social services to thousands of East Side residents. The founding and early history of the Stanley M. Isaacs Neighborhood Center are best documented by minutes in Series II, showing the collaboration between the New York City Housing Authority and the Lenox Hill Neighborhood Association to establish the agency. They also offer the most comprehensive view of administrative, fundraising and program decisions from the early years to the 1990s. This series is supplemented by architectural drawings and plans for the community center in Series VI. Program records in Series V focus on the period 1980-90, with a few items from the 1960s and '70s. The agency's fundraising efforts are documented in Series III, which includes correspondence with foundations and individuals, donor lists and committee files.

The papers include correspondence, subject files, photographs, and printed materials. The majority of the collection concerns the mission of the American Red Cross to Russia in 1917-1918; Thacher served as a secretary of the mission. There are letters and telegrams by W.B. Thompson and Raymond Robins, records of supplies, shipments, and distribution reports and over 600 photographs from Russia, China, and Romania. There is substantial correspondence from 1918-1919 concerning Russia, including letters by Louis Brandeis, Felix Frankfurter, and Lillian Wald. A substantial part of the collection concerns Russian war relief in 1941-1942, an area in which Thacher was active. Printed materials include a pamphlet and an article on Russia prepared by Thacher after his return from that country in early 1918.

The collection includes the original manuscript of "Surrender on Demand", Mr. Fry's account of his wartime experiences, which was later rewritten for young readers as "Assignment Rescue" (New York, Four Winds Press, 1968). Among the correspondents represented in the collection are Marc Chagall, Jacques Lipchitz, Roger Baldwin, Norman Thomas, J. Edgar Hoover, and Herman Wouk. In addition to the material relating to the Emergency Relief Committee (later known as the International Rescue Committee), the collection includes correspondence and papers concerning Fry's work as a writer on foreign affairs as well as copies of his books.

Correspondence, manuscript, and printed materials of Kees. There are fourteen letters from Kees to Herbert Cahoon, twelve letters from James T. Farrell to Kees, the manuscript of Kees' THE LAST MAN, and announcements and clippings by and about Kees.