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Correspondence and manuscripts including drafts, typescripts, and proofs of Franken's short stories, novels, plays, and radio, film, and television scripts beginning with her first novel, PATTERN, published in 1925, through her latest volume, YOU'RE WELL OUT OF A HOSPITAL, published in 1966. Many of the manuscripts relate to her most famous characters, Claudia and David, who have become part of the contemporary cultural fabric. The collection also contains 18 volumes of clippings, approximately 200 recordings, and 501 mimeographed scripts relating to the "Claudia" series. Among the major correspondents are Faith Baldwin, Paul U. Kellogg, and Eleanor Roosevelt. Also includes an audio tape interview of Rose Franken (with typescript transcripts) conducted by her grandnephew, David Korr, in October 1977.

Correspondence, playscripts, screenplays, scenarios, short stories, and other manuscripts, drafts, photocopies, contracts and other documents, tearsheets, clippings, and other materials relating to his career as a screenwriter, playwright, and author of short stories. Correspondence with friends, students, admirers, and professional colleagues concern his teaching, playwriting, films, articles, photography, and literary topics. There are also two groups of letters from students and readers about his textbook, "The Human Nature of Playwriting" (1949). Among the cataloged correspondence are William Gibson, MacKinlay Kantor, Anna Louise Strong, Louis Untermeyer, and Carl Van Doren. Included are manuscripts, drafts, or photocopies of almost all his films, plays, and short stories, such as playscripts and drafts of his plays, "The Jazz Singer" (1922), "Skylark" (1939), "Jason" (1942), and others; screenplays and scenarios, many in photocopy, of "Trouble in Paradise" (1932), "The Merry Widow" (1934), "The Shop Aroung the Corner" (1940), "Suspicion" (1941), "Heaven Can Wait" (1943), and many other films; and manuscripts, drafts, tearsheets, and printed copies of his short stories and articles of film and television criticism. There are also many clippings and reviews, programs, and other printed materials about his plays and films.

Correspondence, manuscripts, notes, drafts of speeches, appointment books, subject files, documents, photographs, memorabilia and printed materials. There are notes from her lectures on Sociology at Adelphi College in 1911-1912; papers from 1912-1932, when Perkins served on the Commission for Safety and on the Industrial Commission of New York State; the main body of the material is from the period of her cabinet office, 1933-1945; and some items from her days on the Civil Service Commission, 1946-1953. Also included are personal and family papers.

Manuscripts, correspondence, photographs, documents, printed materials, books, and other papers of Ira V. and Edita Morris from 1892 to 1988. The couple's literary careers are documented by typescripts, notes, book reviews, and published versions of their work. Some of these materials are written in French, German, Swedish, Japanese, and other foreign languages. Included are subject files, financial records, and materials related to the Hiroshima House for atomic bombing victims and the couple's political activities. In addition, there is correspondence, documents, and photographs related to Edwin Seaver and his family.

Collection is made up of a scrapbook containing 2 pencil on trace sketches, newspaper clippings, and clippings from House and Gardens Magazine (ca 1922) relating to various residences not associated with the architect; 2 diplomas, one from the State Board of Examiners of Architects, Cook County, Chicago (1897) and the other from University of the State of New York State Board for the Registration of Architects (1916); 28 watercolor paintings (ca. 1907) depicting various locations in Europe, including Paris, Florence, Vevay, Versailles, and Venice; 34 pencil drawings of Beaux Art buildings, including residences designed by the architect and illustrations for Good Housekeeping Magazine; and photographs of Salisbury and Winchester Cathedrals, which do not appear to have been taken by the architect.