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The collection consists of drafts of lectures, unpublished essays, and reprints by Brendel primarily on Etruscan art as well as a complete transcript of Symbolism of the Sphere. Notably, the collection also contains a dossier on the Etruscan Diana scuplture forgery purchased by the The City Art Museum of St. Louis in 1953. Brendel was one of the experts declaring the sculpture to be authentic. The sculpture was later delcared to be a forgery most likely created by Alceo Dossena. The dossier on the forgery contains correspondence, photographs, and reports.

The collection is comprised mainly of black and white professional photographs of masks, figures, weapons, utensils, musical instruments, and other objects from Africa and Oceania. There is also a smaller amount of Northwest American Indian art. The objects were photographed individually or in small groups against a plain background. The photos are in their original order, organized by region and then by specific location, ethnic or cultural group, and/or type of artifact. A few photos have individual labels, but most are labeled only with a handwritten number on the backing paper. There is no corresponding guide to the numbering system. Wingert was an avid photographer and the photos were likely taken by him, but are not signed. The collection also contains articles and book drafts by Wingert, copies of published articles and books by Wingert and others, original pen and ink illustrations of objects, additional photographs and negatives that do not seem to be part of the photo file, and small amounts of correspondence and other documents.

This collection contains lectures, notes, photographs, correspondence, and architectural drawings documenting the work of Russell Sturgis, and, secondarily, his son, Lyman Sturgis. The materials were created between 1874 and 1932.

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.