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Most of the papers, which consist of correspondence and documents, concern the period 1911-1913 when Halle, then a student at the Kunsthistorisches Institut of the University of Vienna, went to Russia to study art history. The cataloged correspondence in this collection consists of letters from the following scholars: Boris Denike, Louis Rʹeau, Iakov Smirnov, Praskov'ia Uvarova, Josef Strzygowski, and Valentin Zubov. Arranged correspondence includes letters from various people and organizations, such as Imperatorskoe Moskovskoe Arkheologicheskoe obshchestvo, Imperatorskoe Stroganovskoe Tsentral'noe khudozhestvenno-promyshlennoe uchilishche, Kunsthistorisches Institut. Among documents are library IDs, including Biblioteka Istoricheskogo muzeia and Imperatorskaia Publichnaia biblioteka; member card of the Piatnadtsatyi Arkheologicheskii s"ezd v Novgorode; credential of the Vladimirskaia Dukhovnaia Konsistoriia; and list of publications provided by Imperatorskaia Akademiia Khudozhestv.

Correspondence, manuscripts, diaries of a well-known émigré art historian Grigorii Ostrovskii.

The collection consists of drafts of lectures, unpublished essays, and reprints by Brendel primarily on Etruscan art as well as a complete transcript of Symbolism of the Sphere.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.

Working files of the architectural historians Rudolf and Margot Wittkower, dealing with Baroque and Renaissance painting, sculpture, and architecture. Included are manuscripts, notes, drawings, annotated proofs of articles and books, and some correspondence related to his writings and lectures. The majority of the files document his teaching, research, and writing at the University of London, 1934-1955, and at Columbia University. There are also some manuscript notes from his early years in Italy and Germany. Series I has been divided into six parts: Artists, Subjects, Book Manuscripts, Proofs, Notes, and Printed Materials. Some of the major files are Bernini, Bramante, Carracci, Michelangelo, and Raphael (Artists); Baroque Painting, Patronage, Rome, St. Peter's, Slade Lectures on the history of art (Subjects); ART AND ARCHITECTURE IN ITALY, BORN UNDER SATURN, and MATTHEWS LECTURES: GOTHIC VS. CLASSIC (Book Manuscripts). In addition there are proofs of essays and reviews with manuscript corrections and emmendations, copies of several of his own published works with his manuscript corrections, and typescript insertions for new editions. The Notes consist of eight card file boxes with notes chiefly relating to the Baroque period and Bernini. Materials created by or related to Rudolf Wittkower's wife, the architect and interior designer Margot Holzmann Wittkower, can be found primarily in Series II, IV, V, and VI. Material created or maintained solely by Margot Wittkower is located in Series VI; however, material she shared with Rudolf Wittkower is located in Series II, IV, and V.

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.