One hundred fifty letters to Moyaux's patron Victor Delzant in Paris and his friend Alidor Delzant in Haut-Vienne; accompanying documents include sketches, draft reviews, ephemera, poems, and related correspondence.

One hundred letters, most from Henri Edmond Cross to Maximilien Luce or the Cousturiers, as well as postcards, manuscripts, and two sketchbooks by Cross. Letters by artists such as Lucien Pissarro, Paul and Berthe Signac, and Edgar Degas discuss the theory and practice of Neo-Impressionism.

This 127-leaf manuscript, including fabric samples and drawings, begins with a history of silk manufacture and continues with discussion of contemporary silk makers in Spain, Italy, and France. Illustrated with 136 intricate drawings of looms, many in watercolor, showing set-ups for various patterns and materials.

Seven letters from Henri Edmond Cross to Maximilien Luce, concerning works by Pierre Bonnard, Paul Cézanne, Honoré Daumier, Eugène Delacroix, and Constantin Meunier.

These 29 handwritten notebooks (1938–46 and 1948–76) contain daily accounts of J. Paul Getty's travels, business dealings, and art acquisitions, and provide insights into his personality, politics, relationships, tastes, and values. The diaries illustrate Getty's relations with people in the art world and illuminate how he developed the collections of decorative arts, antiquities, paintings, and sculpture that evolved into the J. Paul Getty Museum.

This 321-page manuscript in Persian, Arabic, and Azeri traces the creation and evolution of celestial and terrestrial life. Composed by Zakarīyā ibn Muḥammad al-Qazwīnī in the 13th century, 148 miniatures depict constellations, zodiacal signs, celestial entities, animals, and fabulous creatures.

Four letters and four receipts document the movement and prices of art works.

More than 55 letters and one document by the Italian sculptor and architect chronicle four Tuscan projects: the porphyry column in the Piazza St. Trinitá in Florence, the Palazzo Pitti, the Ponte á Mare in Pisa, and the Neptune fountain in the Piazza della Signoria in Florence.

A detailed letter from the French general and son of King Louis Philippe to Charles Jalabert concerning the conservation of a painting by Delaroche, a list of Belgian painters, and five personal letters.

Five letters dating from 1764–77 sent to the brothers by their agents and by sculptors in Italy, reporting on the status of work commissioned by them. Letters were written by Francois Barazzi, Bartolomeo Cavaceppi, Benedetto Pastorini, and Giuseppe Ceracchi.

One hundred forty one letters to and from Delacroix, most dating from the last 15 years of his life; portions of a school notebook; and two sheets of working notes.

Fifty letters addressed to Challamel, primarily in his capacity as director of La France litteraire, concerning illustrations and prints appearing in the journal from painters and sculptors including Louis Boulanger, David d'Angers, Decamps, Eugène Delacroix, Antoine Etex, Tony Johannot, Meissonier, Antoine Preault, and the author Edouard de Beaumont-Vassy.

Seventy letters written by Raoul Dufy and Othon Friesz to Fleuret contain details of the modernist cultural milieu in Paris. (Access is available only to on-site readers and to Getty staff.)

Eighty-nine letters addressed to Pascalis, the intendant of the French King Louis Philippe, relating to the purchase and commission of art works for Louis Philippe's private collection. Among the artists mentioned are Boilly, Delaroche, Gerard, Gericault, Girodet-Trioson Ingres, Isabey, Prud'hon, Leopold Robert, and Horace and Carle Vernet.

The first full 40-page draft in the artist's hand, recounting his life in Tahiti.

A 168-page album with photographs, sketches, and manuscript notes assembled by Louis Falconnet, an officer in the French army, while on his tour of duty in Mexico (1864–66) at the time of the French intervention.

Two letters: a humorous letter to Ernest Chesneau expresses contempt for a recent article by Charles Ernest Beulé; a second to the editor Launette offers an opinion of the 1883 book Histoire des quatre fils Aymon.

A hand-colored manuscript depicts Nuremberg carnival processions from 1449–1539 with vignettes of costumed participants and decorated floats.