Mary Adrienne Steckling (1934-2006) graduated from Parsons School of Design's Fashion Design Department in 1958. In 1966, Adri -- her professional name -- developed her own line and continued designing under her own labels for the rest of her career. In 1982, Adri received the prestigious Coty American Fashion Critics Winnie award. The records document Adri's business and professional life, with materials largely arranged according to year and season. Includes clippings and tear sheets, photographic materials, press kits, presentation portfolios, sketches, swatches, and video recordings.

Andre and Creators Studios were Seventh Avenue fashion businesses that marketed their designs to clothing manufacturers by subscription. In the mid-1970s Pearl Alexander Lipman, Andre's co-owner and designer since the 1930s, retired, and the company's design drawings were sold to Creators Studios. The collection consists of reproductions of designs -- some vibrantly hand-colored -- produced and distributed by the two companies between 1937 and 1972.

Dan Arje (1923-1993) was a designer and display director for Bonwit Teller. The collection is primarily comprised of albums containing photographs and news clippings about Arje's displays, as well as correspondence regarding his decorating work for the White House during the Kennedy and Johnson administrations, including the decoration of the White House Christmas tree. Also present are materials Arje collected about Bonwit Teller and Tiffany's designer Gene Moore.

Harry B. Baker (1868-1941) was an illustrator who attended and later taught at the New York and Paris branches of the New York School of Fine and Applied Art (which became Parsons The New School for Design) in the early 20th century. Before moving to New York, Baker traveled around the American West illustrating bar fights, cowboys, Native American, and street scenes. The collection includes photographs of Baker and his students, a letter from Frank Alvah Parsons, identity cards and papers, and illustrations by Baker, including one for the cover of Western Story magazine.

Stanley Barrows (1914-1995) graduated from Parsons in 1940 and taught interior design at the school for over 20 years, becoming mentor to several generations of notable designers. The collection includes examples of student work from the 1930s and '40s compiled by Barrows, course outlines, class travel itineraries, reference photographs of Italian decorative styles, biographical material, and correspondence from Barrows related to his activities as a designer and teacher.

In 1960, Bess Bernard established her own company, Bernard Design International, Ltd., specializing in interior design projects for commercial and residential spaces. The collection consists of 42 watercolor and pencil renderings of Bernard interiors, produced by various artists.

Katherine Bosch (1896-1980) attended the New York School of Fine and Applied Art (later, Parsons The New School for Design) from 1917 to 1920 and received her diploma in Interior Architecture, Decoration, and Furniture Design. The collection consists of three undated watercolor renderings depicting doorways.

A celebrated portraitist and leader in fashion illustration, René Robert Bouché (1905-1963) was a visiting lecturer at Parsons School of Design in 1947. The Kellen collection consists of 104 of Bouché's fashion illustrations, as well as a poster from a 1974 exhibition of his work at Parsons.

Fashion illustration by René Robert Bouché depicting American fashion designer Sophie Gimbel. The illustration appeared in the April 15, 1961 issue of American Vogue magazine.

Advertising illustrations by Roselaine Boylan completed as a student at the New York School of Fine and Applied Art (now, Parsons The New School for Design). Boylan studied in the Graphic Advertising and Illustration Department in 1929-1930. The collection is comprised of five student assignments possibly executed for a third year advertising design class. The assignments consist of illustrated advertising displays for the Grayline Tours bus company, Jell-O, Bloomingdale's department store, and Lord & Taylor.

Mary Largent Brandt was an interior decorator, author, lecturer, and merchandising expert. In the 1940s, she developed a training course for retail sales staff to promote more effective merchandising of home furnishings. Included in this collection are Home Furnishings Training Course: Handbook of Home Furnishings (1946) and a binder entitled, Home Furnishings Training Course: Summary of Visual Chart Materials for Home Study and Reference (undated).

After graduating from Parsons in 1934, Tom Brigance (1913-1990) became a fashion designer specializing in women's swimsuits and sportswear. Exclusive designer at Frank Gallant in the 1950s, Brigance won the fashion industry's Coty Award in 1953. The Kellen collection includes scrapbooks of clippings publicizing Brigance's designs, and a number of sketches of Brigance designs for Lord & Taylor advertisements, among others, many illustrated by Dorothy Hood.

Donald Brooks (1928-2005) was a prominent American fashion designer who, in addition to creating ready-to-wear collections and custom apparel, designed costumes for film, television, and theater. He taught at Parsons School of Design for approximately forty years. The collection includes photographs, publicity materials, and original fashion and costume design sketches.

Constance P. Brown attended the New York School of Fine and Applied Art (later, Parsons The New School for Design) from 1913 until 1917 and worked as secretary to Frank Alvah Parsons sometime in the teens or 1920s. The collection consists of postcards and a letter from Parsons to Brown, faculty announcements, school circulars and lecture advertisements, interior design class rolls, clippings from 1913-1934, and correspondence with the Parsons Alumni Association, 1944 and 1961.

Interior decorator Bruce Buttfield (1897-1969) made his mark in the 1930s by creating distinctive furniture and rooms. In 1931, he designed the interior of the original Whitney Museum building on Eighth Street in New York City. The collection includes photographs and color renderings of Buttfield interiors.

After graduating from Parsons School of Design Fashion Design Department in 1973, Zack Carr (1945-2000) worked for B. Altman, Donald Brooks and, most significantly, Calvin Klein, where he was creative director. In 1984, Carr started his own line, the Zack Carr Collection, before rejoining Calvin Klein. The papers consist of material produced and compiled between 1969 and 2000, and include sketches, idea books, photographs, news clippings and biographical material. The papers also include a pattern drafting notebook and other examples of work Carr did as a Parsons student.

The collection consists of eight notebooks kept by Mariette Cassels (1905-1993) while studying in the Paris Ateliers of the New York School of Fine and Applied Art (now, Parsons The New School for Design) in 1930-1931. Includes lecture notes, photographs, postcards, clippings and sketches of furniture and decorative moldings.

The collection consists of two etchings by William Merritt Chase: Keying Up--the Court Jester (1879). 6 3/4 x 4 1/2 inches and Spanish Peasant (circa 1881). 5 1/2 x 3 inches.

The collection consists of a print for Chermayeff's mural, Painting by Computer; an issue of the Harvard Advocate with cover and illustrations by Chermayeff; and two posters.

Edith d'Errecalde (1905-2002) worked for Mainbocher in the 1940s and started her own sportswear company, Maxmil, in 1951. Later d'Errecalde worked for Evan-Picone and as fashion director for Cohama (Cohn-Hall-Marx). The d'Errecalde papers contain photographs, sketches, news clippings, advertisements, press kits, correspondence, and notes and manuscripts for articles and lectures. D'Errecalde was a critic and lecturer at Parsons School of Design in 1969-1970.

Dero Darwin, Jr., (1929- ) graduated from Parsons' Interior Design Department in 1964. This collection includes design work Darwin produced as a student, as well as lecture notes and course materials. Also included are items from Darwin's professional design career.

The collection includes class notes and a clip book documenting decorative styles compiled by Ethel Epstein (who later used the surnames Dean and Evans) when she was a student at the New York School of Fine and Applied Arts (later, Parsons The New School for Design) in Interior Architecture and Decoration Department, around 1925-1926. Textile and wallpaper samples designed by her, probably dating from the 1950s. Also, a portfolio of her costume design drawings for the Broadway production of

Donna Karan (1948- ) attended Parsons in 1968 and '69 and has been a visiting critic since 1975. Karan was awarded an honorary degree in 1987. The collection includes merchandising materials produced by Donna Karan New York, and includes photographs, advertisements, videotapes and press kits.

In a career that extended from the 1930s to the 1960s, Raymond Driscoll (1915-2004) was perhaps most widely known for his annual best and worst-dressed lists. He also achieved recognition for his costume designs for Mexican film stars. The Kellen collection is comprised of Driscoll's scrapbook of photographs, news clippings, invitations and greeting cards documenting Driscoll's work in the 1940s and '50s, as well as color fashion sketches.

A second edition woodblock atelier print from an edition of 220, printed in 1953, from a 1910 woodcut. In 1924, Dufy used the print, with other images in the series, to produce block-printed textiles for the Lyons-based firm, Bianchini-Férier, with whom he had a long association.

Named one of Architectural Digest’s top 100 designers in 1990 and 2002, Melvin Dwork (1922- ) attended Parsons School of Design in the 1940s, and later served on the Parsons Advisory Committee. The collection (1930s through the 2000s) includes student work, slides and photographs of professional work, news clippings, press releases and publicity materials.

Suzy Lorraine Ehrlich (1919-2006), was a New York-based fashion illustrator and product designer. The collection is comprised of 69 fashion illustrations executed in pen and ink, pastel, crayon, watercolor, and collage. It also contains two mailers advertising Milliken yarns. Some illustrations may have been executed for a class taught by Jack Potter at the School of Visual Arts.

Carl Erickson (1891-1958), who signed his work Eric, was a leading fashion illustrator whose drawings appeared in Vogue and Harper's Bazaar, among other publications. In 1964, Parsons School of Design hosted a retrospective of Erickson's work. The Kellen Design Archives' collection consists of twelve works, possibly originating from that exhibit.

Includes brochures, publicity kits, photographs, and look books issued by companies such as Joseph Abboud, Jane Justin, and Narciso Rodriguez, 1966-2000.

Consists of 19 scrapbooks containing more than 10,000 prints of fashion illustrations produced between 1750 and 1913. The prints primarily depict men's, women's, and children's clothing and accessories, with a small number of images depicting theatrical costumes, architectural and sculptural details, and textile designs. One scrapbook contains swatches of French and Asian textiles. Many of the images were issued originally as portfolio prints, others cut from books and periodicals, such as Graham's Magazine and Godey's Lady's Book and Magazine. The majority of the earlier prints are French.

Slides of runway shows from the 1990s. Designers represented include Bill Blass, Oscar DeLaRenta, Calvin Klein, Michael Kors, Ralph Lauren, Charlotte Neuville, Ozbek, Carolyn Roehm, Adrienne Vittadini, among many others.

Bea Feitler (1938-1982) graduated from Parsons School of Design in 1959 with a degree in Graphic Arts and Advertising and went on to an illustrious career as a designer of books, magazines, posters, record album covers, and more. Feitler served as art director for Harper's Bazaar and Ms. magzines, consulting art director for Conde Nast, where she created the look for Self magazine, and design director for Straight Arrow Publications and Rolling Stone. The collection includes layouts, dummies and other pre-publication work; photographs by a number of the distinguished photographers with whom Feitler worked; and personal correspondence, scrapbooks, and collages.

The collection consists of four copies of an oversized introductory booklet produced in 1989 for Countdown to Eternity: Photographs of Dr. Martin Luther King, Jr. In the 1960's, a limited-edition portfolio of 12 prints by Benedict J. Fernandez. The portfolio was sponsored by the Professional Photography Division, Eastman Kodak Company: Rochester, New York. The booklet includes a biographical note about Fernandez and a remembrance by him, as well as short essays by Aryeh Neir of the Americas Watch Committee, and Charles S. Olton, dean of Parsons School of Design. Each booklet is signed by Fernandez.

Portfolio of 10 photographic prints (original portfolio contained 12) by David Finn for a series of images paired with inspirational quotations.

Roy Fleming (1878-1958) produced the notebook and charcoal drawing in this collection while attending the New York School of Art between 1902 and 1907. Fleming's notes are accompanied by detailed pen and ink sketches illustrating lectures by Frank Alvah Parsons, William Merritt Chase, Robert Henri and others. The collection also includes a 1902 photograph, presumably of Fleming.

Lorraine Fox (1922-1976) began her career in graphic design in the 1940s. The collection includes offprints, proofs, transparencies and tear sheets of magazine and book illustrations, advertisements and record albums. Fox taught at Parsons from 1965 to '76.

Contains eight watercolor sketches by Frawley, who graduated from Parsons School of Design in 1983 and returned as an instructor from 1989-1996. Frawley is known for his illustrations in Parsons classmate Isaac Mizrahi's

In 1950, fashion designer James Galanos (1924- ) started Jimi Originals with Mary Scourby. The company only existed for a short time, but it was the first company to market Galanos' creations under his name. The Kellen collection consists of twelve Jimi Originals fashion sketches as well as invoices and notes. Galanos was a critic at Parsons School of Design in the 1960s.

Francis Geck (1900-2005) graduated from the New York School of Fine and Applied Art (later Parsons) in 1924 and taught interior design at the school's Paris Ateliers until 1927. Following a professional career in his native Detroit, Geck became a professor of Fine Arts at University of Colorado, where he taught for 39 years. The papers contain correspondence with Parsons administrators, including Frank Alvah Parsons, design renderings and student work, publications, and course-related materials.

The collection consists of showroom books for the Givenchy Nouvelle Boutique of New York City, 1972-1974. The showroom books include price lists, garment sketch reproductions, and fabric swatches.

The two fashion sketches, rendered in colored marker, were created by Hubert de Givenchy for Anna-Maria Kellen during the 1980s.

After graduating from Parsons in 1943, Andrée Golbin (1923-2006) led a long career as a painter, graphic designer and illustrator. The Kellen holds examples of Golbin's drawings, graphic designs and book illustrations.

Jeremiah Goodman (1922- ), studied at Parsons School of Design and the Franklin School of Professional Art in the 1940s, and went on to become a sought-after illustrator of interiors, creating covers for Interior Design magazine for fifteen years. The Kellen Design Archives' collection consists of nine watercolor renderings and one reproduction, dating from the 1970s and the '80s.

A collection of eighteen 1940s and 1950s fashion and jewelry illustrations collected by art director Juke Goodman. Artists represented in the collection include Rene Robert Bouche, Burma Burris, Carl Ericson (Eric), Ruth Graftstrom, and Jacqueline Lindner. Goodman served as art director for Saks Fifth Avenue and was a visiting lecturer at Parsons School of Design.

Fred Greenhill (1925-2007) graduated from Parsons in 1950. He went on to work as a fashion illustrator for Neiman Marcus in the 1950s, and was the primary artist for Saks Fifth Avenue in the 1960s and early 1970s. Greenhill is most recognized for his Lord & Taylor illustrations, including the company's trademark long-stemmed rose. The Kellen Design Archives holds approximately 700 fashion illustrations that Greenhill created from the 1960s through the 1980s.

Albert Hadley (1920- ) graduated from Parsons School of Design in 1949 and served on the faculty from 1949 through 1954. Hadley later joined Dorothy

Two numbered prints showing Place de la Concorde in Paris. Depicted are the Luxor Obelisk and a detail from the Fontaine des Mers, consisting of a naiad holding a fish.

Manuscript created by Parsons School of Design instructor Estelle Hamburger for the book, Fashion Business: It’s All Yours (Canfield Press, 1976).

Dorothy Haon (1898-1995), attended Parsons in 1923-24 and went on to a career in fashion design, creating clothing based on styles she encountered on her trips to Paris. The collection (1940s-50s) includes working sketches and notes, cloth patterns, fabric samples, and business correspondence and records. Also included is work by Dorothy's sister, Marion Haon.

After graduating from Parsons in 1945, Margaret Hodge became director of fashion marketing at Vogue, and in 1967 established her own fashion publicity business. Hodge led multiple marketing campaigns, tying clothing lines to the style and fashion of Hollywood films. The collection largely consists of examples of promotional material from Hollywood films, including publicity, set and costume design photographs, press kits, event announcements and tear sheets. The bulk of the material was produced between 1962 and 1976.

Four watercolors by Elizabeth Hoopes (Hoopes-Krusen) (1908-2006), who attended the New York School of Fine and Applied Art (Parsons) from 1927-30. Hoopes later taught at the school's Paris Ateliers. Another of Hoopes' renderings is located in the Lyman Martin papers.

After graduating from the New York School of Fine and Applied Art (later, Parsons The New School for Design) in 1936, Eleanor Horst (1892-1995) led a long career as an interior decorator. The collection includes photographs and slides of Horst projects, as well as numerous renderings of Horst designs, several by fellow Parsons graduate Lyman Martin.

Lea Hoyt (1912-1998) received a degree in graphics from Parsons in 1933, and went on to establish a business as a graphic and textile designer. The collection includes biographical material, correspondence and examples of Hoyt's work, represented by napkins and paper plates, among other items. Hoyt's textile work is documented by slides, photographs and preliminary sketches.

Michael Kalil (1943-1991) was an interior architect, philosopher, educator and artist, known for his innovative work with new materials and for humanizing digital technologies. From 1981 to 1991, he was the principal of Kalil Designs/Kalil Studio, a firm that specialized in high profile commercial, prototype and theoretical, and residential design commissions. Kalil also was an adjunct faculty member at the Parsons School of Design, and taught at the University of North Carolina at Greensboro. The collection includes Kalil's personal and professional papers, including original artwork, sketchbooks, journals, photographs, project records, architectural drawings, photoprints and sketches, design prototypes, and posthumous materials.

Helen Faith Keane (née Kahn) Reichert (1901-2011) was a professor at the New York University School of Retailing from approximately 1946 until 1977. The files consist of clippings, course materials, handwritten notes on fashion press, print publications of a vocational nature by other merchandising educators, and programs and invitations for fashion shows.

Margery Knight (1906-1994) taught figure drawing and fashion illustration at Parsons School of Design from 1946 to '69. The sketchbooks in this collection, dating from the 1950s to 1980, contain rapid figure and fashion sketches, lecture notes, and anatomy studies.

Margaret Louise Lange's notebook, produced while a student of Costume Design and Illustration at Parsons, 1938-1939, includes lecture notes, sketches, color studies and fashion clippings.

Interior design sketches and detail studies from Daniel Lashen's studies at Parsons in New York and in Italy. Lashen graduated from Parsons in 1950.

Four lithograph prints on Strathmore Cover by Rico Lebrun (1900-1964) for Drawings for Dante's Inferno, Kanthos Press, 1963. 2000 copies of the book were printed, each containing four original lithographs. In his preface, Leonard Baskin, the book's designer, refers to Lebrun as Goya's child.

Charles Le Maire (1897-1985) began his costume design career in the 1920s creating costumes for vaudevillian musicals and revues. Later, he served as executive designer for Twentieth Century-Fox. In the 1950s, Le Maire established his own business in Hollywood, taking private commissions and continuing his film design work, and earning 13 Oscar nominations and three Oscars for Best Costume Design. The collection consists of seventeen Le Maire sketches, including work for the Earl Carroll Vanities, and unidentified sketches from the 1950s.

A trained dentist who became an acclaimed sculptor sometimes associated with the New York School of abstract expressionism, Seymour Lipton (1903-1986) achieved international recognition in 1958, when he was awarded a solo exhibition at the Venice Biennale. Lipton taught sculpture at the New School from the 1940s until 1965. The Kellen Design Archives holds twenty of his sketches, made between 1960 and 1969, representing ideas for sculptures.

Roy Little graduated from Parsons in 1949 and went on to become a designer for the renowned French couturier Jacques Fath. He returned to Parsons as an instructor in 1958 and remained in that position until 1979. The nine sketchbooks held by the Kellen represent Little's work for Fath.

The collection consists of student work and related records created or received by Joseph Marcella while studying in the Design Correlations Department (now Product Design) of Parsons School of Design between 1968 and 1970. In addition to project files for portable structures, underwater and outerspace habitations, and a one-piece plastic chair, the collection includes photographs, posters, and textual materials documenting the first Earth Day observances at Parsons.

In the 1950s and 1960s, Harry Marinsky (1909-2008) illustrated for many publications, including House and Garden, House Beautiful and Woman's Day. The Kellen Design Archives collection consists of seventy illustrations in watercolor and marker depicting residential and commercial interiors and exteriors.

Lyman Martin (1908-2003) graduated from Parsons in 1939 and went to work for Thedlow, a prestigious interior design firm. After serving in World War II, Martin returned to Thedlow, where he created interiors, produced watercolor renderings, designed rugs and painted murals for clients. In 1969, Martin was appointed president of Thedlow and stayed in the position until the company closed in 1979. The collection (1930s-1960s) includes student work, renderings and maquettes of interiors, sketchbooks, an illustrated European travel diary, floor plans, photographs, news clippings, press releases, exhibition catalogs and reference files. More of Martin's renderings may be found in the Eleanor Horst collection.

The collection consists of student work and related documents kept by Ina Dell Marvin (1893-1991) while studying in the Paris Ateliers of the New York School of Fine and Applied Art (now, Parsons The New School for Design). Includes class reference materials, clip books, correspondence, diploma, London itinerary, lecture notes, photographs and renderings of furniture, decorative pieces, and interiors.

Dora Mathieu (1909-1980) taught fashion drawing in the Parsons School of Design Fashion Illustration Department, 1964-1966. The Kellen Archives holds 29 of Mathieu's sketches, depicting notable designers of the mid-20th century. Although the earliest dated portrait is from 1938, the bulk of the collection was created between 1965-1968.

In 1979, Harold Matossian (Parsons, 1968) became director of the Knoll furniture company's graphics department, producing invitations, brochures, stationery, catalogs and other company literature for the company until 1994. The Kellen Design Archives holds finished examples of these graphics.

A set of 115 prints of the work of graphic designer Shin Matsunaga (1940- ), as well as the catalog for a 1989 exhibition of his work at Parsons.

Claire McCardell (1905-1958) graduated from Parsons in 1928 and went on to become a pivotal figure in the creation of American ready-to-wear clothing. McCardell received the Coty American Fashion Critics Award in 1944, and in the same year returned to Parsons as a critic and instructor, a position she held for the rest of her life. The Kellen Design Archives has approximately 9,000 of McCardell's working sketches, 1931-1958, the bulk done for Townley Frocks. The collection also includes sketches by Mildred Orrick and by Scaasi for Townley Frocks.

Original fashion illustrations donated by the menswear fashion magazine, DNR (Daily News Record). Sketches in the collection are executed in colored pencil, marker, and watercolors. Designers represented include John Rocha, Tommy Hilfiger, Nina Ricci, Claude Montana, Jose Levy, Paco Rabanne, Gilles Rosier, Joseph Abboud, and Olivier Strelli.

The collection consists primarily of course assignments in the form of a collage, presentation boards, photographs, and a watercolor rendering by interior designer Catherine Minkiewicz ('66) during her studies in Parsons School of Design's Interior Design Department.

Esta Nesbitt (1918-1975), an instructor at Parsons School of Design from 1964 to 1974, created fashion illustrations for such publications as Harper's Bazaar, Mademoiselle and the New York Times Magazine. Later in her career, Nesbitt employed inventive printing techniques as a children's book illustrator, created performance art pieces, and was one of the earliest to experiment with fine art xerography. Nesbitt's work in the Kellen Design Archives primarily consists of 271 original fashion illustrations, as well as pre-publication layouts, mechanicals, proofs, and tear sheets.

Norman Norell (1900-1972) was the first American fashion designer to compete successfully with French couture. In 1943, he received the first Coty American Fashion Critics Award and in 1956 was inducted into the Coty Hall of Fame. Norell taught at Parsons from 1943 to 1972. The collection includes 70 fashion sketches, photographs, news clippings, print ads, awards, scrapbooks, biographical material and two examples of Norell's clothing.

William Odom (1884?-1942) attended the New York School of Art around 1909. He returned to teach at Parsons for many years, eventually heading the Department of Interior Design and, in 1930, succeeding Frank Alvah Parsons as president of the school. He served in this capacity until his death. The collection consists of Odom's research collection of decorative book endpapers.

The collection consists of Jeanette Olliver's student work in the form of lecture notes, detail sketches and course materials representing her work in the Parsons Interior Architecture and Decoration Department in the early 1940s.

Fashion designer Mildred Orrick (1906-1994) graduated from Parsons in 1928 and went on to a career as a fashion and costume designer and illustrator, and designed part of the Futurama exhibition at the 1939 New York World's Fair. Orrick taught at Parsons from 1947 to 1962. The collection consists of Orrick's fashion and theater costume sketches. (More of Orrick's sketches are found in the Claire McCardell sketch collection.)

The workbook that comprises this collection was used during the Amos Parrish Fashion Merchandising Clinic, held in New York City, January 6-10, 1930. Parrish's clinic was offered once and sometimes twice annually from the 1920s through 1955 to forecast the year's trends for the fashion industry. This workbook belonged to Howard Phillips, merchandise manager for the Ernst Kern Department Store, Detroit, Michigan, and was heavily annotated by Phillips during his week at Parrish's clinic.

The collection contains correspondence from Frank Alvah Parsons, president of the New York School of Fine and Applied Art (later, Parsons The New School for Design), to alumni James Wilfrid Kerr and Rose Netzorg Kerr, in addition to a short manuscript written by James Wilfrid Kerr upon Parsons' death. The tribute relates Kerr's experiences as a World War One veteran studying art under Parsons' tutelage.

The collection consists of examples of Anthony Pellino's student art and design work, the bulk of which was completed in 1983, in his first year at Parsons.

These records consist of files compiled and produced during the more than thirty years of research and writing that culminated in the publication of the Complete Catalogue of Known and Documented Work by William Merritt Chase (1849–1916), published in four volumes by Yale University Press between 2006 and 2010. The project was begun by Ronald G. Pisano (1948-2000) and completed by D. Frederick Baker and Carolyn Lane after Pisano's death. Files include correspondence with auction houses, museums, galleries, libraries, archives, and individual owners of Chase work; authentication reports; photographs of Chase work; exhibition and auction records; news clippings and articles by and about Chase; and photographs and correspondence from Chase's lifetime (mostly obtained as photocopies from other institutions).

The collection consists of work by eighteen artists who worked in the printmaking medium in Great Britain during the 1960s and '70s. All works are prints on paper and most are completely or largely abstract. The majority are screen prints, although there are also lithographs and intaglios. Many are characterized by bold blocks of color and exhibit a Pop influence. It is not known whether the works in this collection were all printed in the same studio, nor are the circumstances known under which they were donated to the Kellen Design Archives. However, many of the artists in the collection are of the same generation, knew one another, and many are frequently exhibited together. All were members of a thriving art scene in Great Britain during the 1960s and '70s, at a time when screen printing was gaining increasing acceptance as a technique for creating works of fine art, after having long been used primarily for producing commercial graphics.

Three impressions from an edition of 100 prints produced in 1974 from a zinc-plate etching created in 1933. The etching is divided into six small panels in which each of the artists etched a portrait of another member of the group.

Sunbeam Randall (1898-1993) graduated from the Parsons School of Design Interior Design Department in 1951 and worked as a professional decorator. The collection includes course materials, furniture and decorative style sketches, class notes, and a scrapbook documenting Randall's art tour of Europe as a Parsons student in 1950.

A student notebook kept by Marion Reed, who attended Parsons' Paris atelier in the summer of 1927. The notebook contains lecture notes, postcards and class handouts.

Longtime Parsons Fashion Design Department faculty member Richard Rosenfeld has published fashion illustrations in Time magazine, Vogue, Seventeen, Brides, the New York Times, and WWD Illustrated: 1960s - 1990's. Rosenfeld did this illustration of the model, Danuta, as a demonstration for a fashion drawing class he taught in the mid-1990s.

The Jessica Rummel collection, ranging from the 1920s through the 1960s, consists of Rummel's working files for her New York City-based interior decoration business, which operated during at least part of this period as Harding & Rummel, Inc. The files, which Rummel arranged under subjects such as

John J. Russo graduated from Parsons School of Design in 1942 and taught at the school from 1946 to 1985. The collection includes printed examples of whimsical graphics, including fliers, invitations, and posters. More samples of Russo's design work may also be found in the Parsons Institutional Collections Printed Materials record group and the Parsons School of Design Alumni Association records.

The collection is comprised of 75 binders of fashion photographs and press materials promoting Saks Fifth Avenue’s clothing lines between 1954 and 1974, including Sophie Gimbel Originals, Ready to Wear, and Custom collections from 1954 to 1967. In addition to providing a rich visual record of the dramatic evolution of style over the course of two decades, the photographs, reproductions of fashion sketch sheets, press releases, and publicity materials shed light on Saks' fashion business development and marketing strategy under the leadership of Helen O'Hagan, who succeeded Grace de Mun as Saks publicity director.

Consists of eight issues of a magazine produced for the staff and associates of Saks Fifth Avenue. There are four issues of Saks News, 1952-53; and four issues of Saks Fifth Ave. News 1969, 1974, 1976. The 1969 issue honors Adam Gimbel, long-time President of Saks, upon his retirement.

Typographer Albert Schiller (1898-1970) created artworks using pre-cast metal type elements. The collection is comprised of 35 type pictures featured in a 1976 exhibit at Parsons.

Consists of two illustrations completed by Margaret Schmid for an Advertising Design course at Parsons School of Design, from which she graduated in 1947. The two items in the collection are brightly colored advertisements for CBS records and WABC news.

Completed by Burton Schuman while a student at Parsons School of Design in 1947-1948 for an Advertising Design class taught by Betty Carter, the collection includes sketches, illustrations and advertising designs.

The collection consists of 68 prints out of a set of 70 from woodcuts created by Romanian-born painter Arthur Segal (1875-1944) between 1912 and 1919. The prints, from Segal's original blocks, were made on handmade paper by William Carter, and published by Richard Nathanson.

The collection consists of art and design work executed by furniture and interior designer Allan Skriloff during his studies in Parsons School of Design's Interior Design Department between 1963 and 1966.

Herbert Sondheim (1895-1966), who taught at Parsons in 1946, ran a dressmaking business that produced affordable versions of high-end fashion. The Kellen Archives holds Sondheim's nineteen scrapbooks, the bulk of which contain fashion drawings depicting the work of Vionnet, Chanel, Molyneux, and others. Sondheim used these drawings as templates and inspiration for his own dress designs. Two scrapbooks contain news clippings, photographs and correspondence from 1946-1947.

Painter and illustrator Walter Stein (1924-1981) taught at Parsons School of Design from 1973 onwards. The collection consists of Stein's original watercolor illustrations, primarily depicting animals and plants, for the book, For Love of Her: Poems by Emily Dickinson, 1974.

James Vinton Stowell graduated from the New York School of Fine and Applied Art (Parsons) in 1917 with an Advertising Design degree, and taught at the school after graduating. The sketch, titled

Margaret McKay Tee (1882-1955) came to New York from Cripple Creek, Colorado in 1902 to attend Cooper Union. Frank Alvah Parsons, whom she met at Columbia Teacher's College, later hired Tee as a student instructor at the New York School of Art (soon thereafter renamed the New York School of Fine and Applied Art). After moving back to Colorado, Tee carried on a correspondence with Parsons for many years. Tee's papers include correspondence from Frank Alvah Parsons, photographs of Tee's paintings, and an autobiographical essay in which Tee describes her upbringing in the West, and her experiences as a young art student in New York City.

Eugene Paul Ullman (1877-1953), was an American painter of landscapes, portraits, and still lifes. Ullman studied and later taught with artist William Merritt Chase during the earliest years of the Chase School, predecessor school to what became Parsons The New School for Design. He then moved from New York to Paris, where he briefly joined James Abbott McNeil Whistler's atelier and began receiving major awards for his work. The collection consists of artwork in the form of sketches and photographs of paintings, correspondence, exhibition catalogs, scrapbooks, and unpublished essay manuscripts. Much of the material is annotated by Ullman's youngest son, Pierre L. Ullman. Also included are files documenting the life of an older son, Paul Ullman, who was killed in France during the Second World War.

Fashion illustrator Michaele Vollbracht (1947- ) graduated from Parsons in 1968, and has since returned periodically as a visiting critic. After working as a design assistant for Geoffrey Beene, Donald Brooks, and Norman Norell, Vollbracht turned to fashion illustration and portraiture. In 1985 Vollbracht published Nothing Sacred, an illustrated memoir, and in 2000 Parsons mounted an exhibition of his work to celebrate the release of the updated version of the book. The Kellen collection includes portrait sketches, large-format illustrations, and a sketch of Vollbracht's iconic Bloomingdale's shopping bag of 1975.

The collection consists primarily of lecture notes and course-related notebooks maintained by designer Carolyn Nesbitt Wagenseller ('63) during her studies in Parsons School of Design's Interior Design Department.

Raymond S. Waldron, Jr. (1913-2002) attended the New York School of Fine and Applied Art (which became Parsons) from 1938-1941. After serving in World War II, Waldron worked for Lord & Taylor. In 1965, he established his own interior decoration firm. The Raymond Waldron papers include work Waldron completed as a student at the New York School of Fine and Applied Art. Notebooks contain graded assignments, instructor handouts, sketches, and tracings. Other student work includes larger-format gouache renderings of European interiors and sites. A later sketchbook reflects Waldron's design studies in New York, France and Italy. Materials from Waldron's professional career include project files, design research, stereo slides of the Blair House, among other projects, and publicity for his business.

French-born Joset Walker (1902-1999) graduated from the New York School of Fine and Applied Art (later, Parsons The New School for Design) in 1928, and soon became a leading designer of ready-to-wear clothing for Saks Fifth Avenue's Theatrical Department. In 1932, Walker served briefly as head costume designer for RKO Pictures, working under the name Josette De Lima. She returned to New York and began designing for wholesale manufacturer David M. Goodstein in 1940, before leaving the company to found Joset Walker Designs. Often incorporating Mexican and Guatamalan textiles, colors and styles into her designs for the American market, Walker reached the pinnacle of her career in the 1940s and '50s as a designer of casual, feminine clothing for women. The Joset Walker collection includes pages from Walker's scrapbooks, largely comprised of clippings of advertisements for her designs, but also including publicity, photographs of department store window displays, and ephemera documenting Walker's career.

Chester Weinberg (1931-1985) graduated from Parsons School of Design in 1951 and served as a visiting critic and lecturer on fashion design at the school from 1955 to 1985. Weinberg rose to fame in the 1960s, establishing his own label, Chester Weinberg Ltd. in 1966. He later became a consultant and was appointed design director of Calvin Klein jeans in 1981. The collection consists of a scrapbook containing news clippings, fashion print ads, and photographs primarily chronicling Weinberg’s career from 1966 until 1975, and one fashion sketch.

A leading figure in the development of American ready-to-wear clothing, John Weitz (1923-2002) established one of the first American signature menswear lines. Through various licensing arrangements combined with self-referential advertising campaigns, he established an international consumer base and became a multi-millionaire. In addition to fashion design, Weitz pursued an array of other interests, becoming a successful racing car driver, yachtsman, best-selling author and photographer. Weitz was a visiting lecturer at Parsons School of Design between 1975 and 1995. The collection includes sketches and design drawings, exhibition files, scrapbooks, newspaper and magazine clippings, publications, photographs, and audiovisual recordings of promotional campaigns, fashion shows and television commercials.

Notes taken by Cleora Clark Wheeler during lectures given by Frank Alvah Parsons at the New York School of Fine and Applied Art (now, Parsons The New School for Design), which Wheeler attended in 1912-1913. Also included is a set of bookplates, which was the focus of Wheeler's later career.

Design director for Dunbar furniture company for more than three decades, Edward Wormley (1907-1995) is often cited as one of the top 20th century designers of American modernist furniture. In the 1950s, many of Wormley's designs received Good Design designations at the annual Chicago Merchandise Mart/Museum of Modern Art exhibition. Wormley taught at Parsons between 1952 and 1970. The Kellen collection spans the years 1908 to 1991, and includes photographs, slides, biographical materials, news clippings, technical drawings, Dunbar catalogs, and several original sketches.

The collection consists of a copy of Prints in the Desert, 1950, a limited edition book of fifteen prints and poems produced by a group of artists, edited by Adja Yunkers (1900-1983). Yunkers was a painter, printmaker and collagist who taught at the New School for Social Research, 1947-1956 and at Parsons, 1957-1958. The book includes prints by Yunkers.