Fifteen letters, addressed to Paul Bérard, Julie Manet, and Gustave Geffroy, among others. Largely personal in nature, the letters contain some discussions of works-in-progress, dealers, and travel, including Renoir's trip to Argenteuil with Gustave Caillebotte.

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.

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

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. Trinità in Florence, the Palazzo Pitti, the Ponte à Mare in Pisa, and the Neptune fountain in the Piazza della Signoria in Florence.

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.)

Panel discussions, interviews, letters to curators, and other informal writings (including drafts and corrections), as well as audio recordings and transcripts of a 1969 interview with Arthur Cohen.