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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.

Correspondence, manuscripts, drawings, watercolors, sketches, proofs, and printed materials. The collection includes original watercolor, pen-and-ink, and pencil illustrations for fifty books by various authors, beginning with Georges Duplaix's TOPSY TURVY CIRCUS (1940), and continuing with Golden Book's Scuffy the Tugboat & Tootles the Train by Gertrude Crampton; Duplaix's The Merry Shipwreck; Kipling's The Jungle Books, and the artist's dummy for The Wheel on the Chimney by Margaret Wise Brown, a Caldecott Honor book. Also included are illustrations for nineteen books by Gergely; advertising and commercial art of the 1940s, political cartoons and carricatures from the 1930s 1940s in Europe and America; designs for greeting cards, posters, and record jackets; and eighteen watercolor drawings for NEW YORKER covers, many of which were published in the 1940s. A selection of manuscripts, correspondence, and printed materials is also included in the collection.

Correspondence, manuscripts, audio cassettes, photographs, and printed materials. The correspondence covers the years 1934 through 1999 and consists mostly of letters to and from James L. Weil, whose Elizabeth Press was Bronk's publisher from 1969 to 1981, from Eugene Canadé, an artist who illustrated many of Bronk's books, from Bronk's sisters, and from many friends. There are also letters from W.H. Auden; Paul Auster, Cid Corman (Bronk's first publisher and founder of ORIGIN, the magazine in which many of Bronk's early poems first appeared), Robert Creeley, Samuel French Morse, Gilbert Sorrentino, and many other well-known authors. The manuscripts include notebooks and binders containing handwritten and typed drafts of poems and essays. They document nearly all of Bronk's published writings including the collection of essays he completed in the 1940s which was published in 1980 as THE BROTHER IN ELYSIUM as well as the collection of poems published in 1981 as LIFE SUPPORTS: NEW AND COLLECTED POEMS for which Bronk won the American Books Award in 1982. There are also page proofs, photographs of Bronk, many audio cassettes of Bronk reading his work in the 1970s and the 1980s and printed materials

This collection includes a very small number of personal papers from Ware; photographs of students, faculty, and school buildings, 1880s-1920s; memorials and testimonials to Ware; and miscellaneous clippings (including clippings of articles about Marcia Mead, first woman graduate of the School of Architecture), invitations (including two invitations to the first commencement of the University of the City of New York, 1834), greeting cards and announcements.