Approximately 11,000 images collected by Thomas Norrell consisting of original photographic prints and photographic postcards, original film and glass plate negatives, and duplicate/copy photographic prints and negatives. The majority are external views of single locomotive engines of North American railroad and industrial companies. Images of international railroad company locomotives and of representative locomotives from various locomotive works and builders are also included. The collection contains a small number of subject-specific images covering such topics as train wrecks, funeral trains, experimental locomotives, miniature trains, and locomotives at the 1933 and 1939 World's Fairs.

Publications, photographs, articles, audio and video recordings, and teaching materials relating to the rise of Macrobiotics in the United States, as popularized by Michio and Aveline Kushi. The bulk of the material was produced for the Kushi Foundation, Kushi Institute, and East West Foundation.

The records of Milch Gallery measure 42.5 linear feet and date from 1911-1995. Edward Milch (1865-1953) opened the Edward Milch Gallery in New York City. In 1916, he formed a partnership with his brother Albert Milch (1881-1951), a gilder and framer, creating E. & A. Milch, Inc., a gallery specializing in American art. Harold C. Milch (1904-1981), Albert's son, was appointed a partner in 1944 and continued the business until his death. Business records of Milch Gallery, 1911-1968, include correspondence, sales records, inventories, financial records, printed matter, photographs, and legal documents. Later additions to the records date from 1922-1995 and include correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.

The papers document the working files and home movies of Herbert M. Bratter, a financial specialist, and his professional career. The materials consist of biographical materials (academic and military records), press releases, newspaper clippings; daily, weekly and monthly releases from government agencies; clippings from the Congressional Record on monetary matters such as silver and gold; topical files covering a range of monetary subjects; publications, including writings about the Bretton Woods Conference, scrapbooks, and moving image including home movies.

The collection documents Gabler's involvement in the recording industry and the evolution of Commodore Records. The documentation begins with the Commodore Radio Shop through its evolution to Commodore Music Shop. The collection also includes the beginnings of the Commodore record label and information detailing Gabler's 30 years as staff producer and later Vice-President in Charge of Artists and Repertoire at Decca Records (1941-1974). There is a small collection of black and white photographs chronicling the early years at the Commodore Music Shop, as well as jam sessions, often held at Jimmy Ryan's on 52nd Street. The collection also includes a vast array of audio recordings (mainly audiodiscs).

The papers of abstract painter and teacher John Opper measure 1.4 linear feet and 0.057 GB and are dated 1926-2011. The papers contain both professional and personal corespondence, including letters from immediate family. Biographical materials consist of essential data including passports, birth and death certificates, and curricula vitae. Some geneological documents are in digital format. Personal business records relate to the artist's Bowery Street and Amagansett studios, and to art sales through the Grace Borgenicht Gallery. A scrapbook contains newspaper clippings. Additional clippings, group and solo exhibition catalogs and announcements documenting Opper's career, and galley sheets of a children's book illustrated by Opper are included among the printed material. Photographs are of Opper, his family, friends, and paintings. Digital photographs depict the artist and relatives. The collection also contains a few pen and ink drawings by Opper.

Biographical material; diaries; correspondence, financial material; notes; writings; art work; printed material; and photographs

The collection documents S. Colum Gilfillan, a charter member of the Society for the History of Technology (SHOT) in 1958 and his SHOT correspondence, particularly with Melvin Kranzberg.

The collection documents the development and evolution of the Breck Girl, a highly successful and long-lived advertising campaign whose hallmark was its vision of idealized American womanhood through correspondence, photographs, paintings, and print advertisements.

The papers of New York photographer and filmmaker Hans Namuth measure 4.5 linear feet and date from 1945 to 1985. The bulk of the collection consists of photographs taken by Namuth of New York artists. Also included are papers regarding Namuth's film about Alfred Stieglitz and other professional files.