Series 1: Correspondence and Personal Material comprises the most voluminous series in Gillett Griffin's papers. Griffin was a prolific correspondent who often created several drafts of his letters and illustrated their salutations. Griffin filed correspondence in several different alphabetical runs. Some correspondence was also unfiled. The bulk of the letters were received by Griffin, but drafts or copies of his own letters are also present.

Artwork includes primarily drawings and sketches. The series also contains some pastels and paintings, printing and printing plates, as well as childhood artwork, pieces from Griffin's studies at Yale, and book designs. The bulk of the drawings in this series are undated and unsigned, but many of the sketches appear to date from the 1990s and 2000s. Human figures are the most common theme. A great number of drawings were labeled "erotic" by Griffin and were often stored, as was much of his correspondence and artwork, in interoffice envelopes. Erotic drawings of men appear throughout the series, not only in the folders so labeled.

Photographs include personal snapshots, travel photos, photographs of art objects, and some formal portraits of Griffin and others. The series includes several personal photograph albums, a box of color slides, and two VHS tapes. Some photographs were exposed to moisture and are damaged or stuck together.

Incluye cuadernos y una agenda que Vilariño utilizó para realizar anotaciones sobre diversos temas como el tango, la crítica literaria, Octavio Paz, Roland Barthes, Arthur Schopenhauer, entre otros. La mayoría de los cuadernos incluyen las transcripciones de Vilariño de su poesía con índices.

Incluye correspondencia entre Vilariño y sus hermanos/as, invitaciones a eventos y cartas de su tiempo como profesora de literatura en la Universidad de la República Uruguay.

Incluye fotografías familiares, algunos recibos y una cartilla médica que resume el historial médico de Vilariño.

Contiene material impreso acerca de Vilariño.

Los archivos adicionales incluyen libros de la biblioteca personal de Vilariño, principalmente libros anotados escritos por otros autores como Narciso Pizarro, Octavio Paz, Pablo Rocca, José Santos Gónzalez Vera, Ernesto Sábato, Daniel Vidart, Mario Benedetti y Rubén Dário. También incluye libros anotados por y sobre la autora; dos poemas escritos a mano firmados por Vilariño; una carta de la hermana de Vilariño, Poema; y un cuaderno de poemas inéditos escritos por Jorge Liberati. La descripción se basa principalmente en la descripción del comerciante.

Series 1 primarily pertains to the land and water rights of specific American Indian tribes or peoples. Most of the communities represented by Byler are native to the Southwest, especially Arizona, though issues related to tribes and peoples residing in Washington state, the Midwest, and the Southeast are also documented.

This series contains materials related to Félix Candela's professional work as an architect, structural engineer, and master builder, both for his own company and as a technical advisor for other firms. Included are many black-and-white and color photographs, slides, negatives, and transparencies showing Candela's finished structures and works under construction, along with some architectural drawings, sketches, and designs, and a smaller quantity of maps, calculations, and project files pertaining to specific buildings. Rather than serving as traditional architectural project files, the materials in this series document the design, construction, and completed forms of many of Candela's buildings, primarily through photographs, and secondarily, through Candela's architectural drawings and specifications, which provide insight into his design process. This series includes an original run of conceptual files on specific buildings, arranged by architectural feature or theme, that contain both photographic materials and architectural drawings. Also present is a group of slides and negatives of Candela's work, along with microfilms of technical articles related to his projects, that he organized separately by medium, and additionally, a group of Candela's photographic materials, which were later arranged based on their use for research and publication in a book by Maria Garlock and David Billington, Félix Candela: Engineer, Builder, Structural Artist (Princeton University Art Museum, 2008). These divisions were preserved in order to maintain contextual evidence regarding use and original organization. Researchers looking for photographs of a specific building should note that relevant materials may therefore be present in all three subseries.

This series includes drafts, typescripts, handwritten notes, and clippings of Candela's lectures and published papers, itineraries, receipts, and correspondence related to his international travels and participation in conferences worldwide, along with drafts and clippings of his published articles and translations. These materials, which Candela filed together, pertain broadly to his role as a leader in the field of architecture and as an advocate for innovative methods of thin-shell concrete design. Beginning in the 1950s, Candela became an outspoken proponent of a new type of structural analysis that de-emphasized overly complex mathematical calculations in favor of a more thorough theoretical understanding of forms based on principles of geometry. His public lectures and writings promoted an economy of design that was not divorced from aesthetic concerns, made strong arguments against classical structural analysis, and at the same time, attracted attention and publicity to his firm, Cubiertas Ala. Materials in this series reflect Candela's regular participation in international professional conferences, meetings, and publications related to architecture and structural design, and the viewpoints he promoted. Some writings and typescripts of Candela's lectures regarding topics tangential to architecture, such as politics and urban planning, are also included.

This series contains materials primarily related to Candela's personal life and activities, including appointment books, financial ledgers, address books, student notebooks, drawing portfolios, study guides, autobiographical writings with related clippings and documents, personal photographs of Candela traveling with his family, and various awards and honorary certificates he received throughout his career. Contents range from school work and black-and-white photographs from Candela's early education and athletic career in Spain to contemporary color photographs of Candela in his later years traveling in Europe and South America alongside his wife, Dorothy Candela. A complete run of appointment books spanning from 1968 until 1997 is also present, containing a great deal of information about his daily activities and interactions.

This series includes clippings and print materials related to architecture in general, as well as to Candela's own work, that he collected along with his papers as reference materials. After his exile from Spain following the Spanish Civil War, Candela never continued his formal study of architecture. Instead, during his early years in Mexico, he educated himself on the topic of thin-shell construction through independent reading and subscribing to various architectural journals and reviews, some of which he retained and are included in this series.

Consists of tearsheets for works such as "The Sensible Thing," "Bernice Bobs Her Hair," and "A New Leaf," as well as others.

Consists largely of manuscripts, correspondence, and notes regarding "Sexual Autobiography" and "Animal, Vegetable, Mineral."

Consists largely of correspondence with Ernest and Pauline Hemingway and Mr. and Mrs. Paul Pfeiffer.

Consists of Ernest Hemingway's will and Pauline Hemingway's passports.