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Architectural drawings and photographs of architectural drawings with some related correspondence of residential and public buildings, churches, libraries, theaters, monuments, and bridges including: the Henry Hudson Bridge, Triborough Bridge, and the Manhattan Bridge in New York; Edward Henry Harriman's Arden House in Harriman, N.Y.; the Alfred I. Dupont mansion in Roslyn, N.Y.; the David A. Reed house in Washington, D.C.; the reconstruction of the Grand Army Plaza in New York City; the Memorial Amphitheater for Arlington National Cemetery; and various bicentennial buildings for Yale University. Of note are drawings of the grounds, details of buildings, and furniture for the New York Public Library, 1908-1909.

Collection contains watercolor renderings, sketches, technical drawings (ground plans, elevations and details), photographs, glass plate and acetate negatives, scrapbooks, set models and some related papers covering Urban's career in Vienna and New York as an architect, set designer, decorator and illustrator. There is a thorough representation of his New York career including his set designs for Florenz Ziegfeld (1915-1932) and the Metropolitan Opera (1917-1933). The collection also contains information on Urban's work for William Randolph Hearst as art director for Cosmopolitan Studios, his exhibitions including his 1921 Wiener Werkstätte store, and his many architectural projects. Biographical information and research gathered by Richard Cole and Randolph Carter including contributions from his daughter,Gretl Urban, and biographical notes and some letters from his widow, Mary Urban, are also present.

This scrapbook includes correspondence, typescripts, printed materials, black and white photographs, postcards, and other ephemera relating to the life, work, and personal interests of William Adams Delano and his architectural partnership with Chester H. Aldrich.

Collection consists of correspondence, clippings, reports, press releases, memorandums, memos, meeting minutes, printed material, notes, financials, and one photograph. The collection is arranged alphabetically in two series: Committee Records and Reference material. Reference material includes printed booklets and copies of the Congressional Record recording the proceedings and debates of Congress.

This collection primarily contains original correspondence--including letters, telegrams, and postcards-- to California architect Robert D. Farquhar from Chester A. Aldrich. Also included is a small group of letters from Amey Owen Aldrich to Farquhar. Most letters are accompanied by envelopes; a very few contain photographs, clippings and other ephemera. Matters discussed in the correspondence vary widely from intimate personal subjects to observations and reports on the work of Carrère & Hastings and Delano & Aldrich, the American Red Cross and its work with soldiers in Italy during World War I, the rise of Fasicsm in Italy, economic hardships during the Depression, and the state of American and European architecture.

Three sketchbooks; the first, 1893-1894, containing sketches from his student years at the Columbia School of Mines, Department of Architecture (he received his degree in 1894); the second, 1894-1896, containing sketches made as a student at the Ecole des Beaux-Arts in Paris; and the third, circa 1896-circa 1905, containing sketches for a variety of projects and designs. Buildings and other structures depicted include the Academy of Music on 14th Street, New York City (a seating plan); Wells Fargo Bank Building, Portland, Oregon, 1910; Reunion Hall, Princeton University, 1902; lantern for the Aetna Building, Hartford, Connecticut; Woodland Street entrance to Kinney Park, Hartford, Connecticut, 1905 (some drawings are by others). Program notes from the classes of Paul Blondel and J. Gaudet at the Ecole des Beaux Arts are included. Also, designs (some done in partnership with Joseph Urban) for proposals for the Metropolitan Opera Company on various sites in New York City, circa 1920s; and designs for shopping and music centers in New York City, to 1936.

Collection consists primarily of White's letterpress books and correspondence, with some related bills, receipts, and other ephemera, 1887-1906, relating to his professional and personal matters. Correspondence, 1907, relates to his estate. Correspondents of note include William A. Boring, Richard Morris Hunt, Augustus Saint-Gaudens, Louis C. Tiffany, John La Farge, Charles McKim, Frederick Law Olmsted, Whitney Warren, Stefano Bardini, Bessie White, William Merritt Chase, William Robert Ware, Kenyon Cox, Cornelius Vanderbilt, Percy Baker, Cass Gilbert, Childe Hassam, John Singer Sargent, John Wanamaker, Carrère & Hastings, Thomas Dewing, James McNeill Whistler, Lawrence White, Richard White, and other architects, artists, contractors, suppliers, clients, friends, and family members. One letter book contains letters, 1922, by White's son Lawrence Grant White. Also included are White's architectural drawings for houses he built for himself at St. James, Long Island, 1892-1904, and 121 East 21st Street, New York, undated; miscellaneous drawings; and a few architectural drawings by Lawrence Grant White, and drafts of his translation of Dante's DIVINE COMEDY.