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File contains one drawing, red and black wash over pencil on paper, of a boy and girl picking apples. Two pencil sketches of entwined figures on the verso

File contains drawings received from Sylvia Ostry, as follows: Untitled (Seated figure), [ca. 1925]; Untitled (Seated figure in window), [ca. 1925]; Untitled (Three female nudes), [192-]; Untitled (Three female nudes in landscape), [ca. 1928]; Untitled (Female figures in mountainscape), [ca. 1928]

File contains pencil drawings on oiled tracing paper with detailed drawings and notes on various parts of the human figure, including the bodies and faces of children.

File contains pencil drawings on oiled tracing paper mounted on larger sheets of paper, probably containing copies from a text. Subjects include classical figures and anatomical studies of feet, eyes, various bones, muscles and joints, ears, faces, etc.

27 designs in pencil on paper and 1 stencil cut in heavy paper. The designs include borders, corner designs, book covers, etc. The verso of one sheet contains the first page of an undated draft letter in Kathleen Munn’s hand to her mother evidently en route to Buffalo and Boston in which she mentions a visit to Elbert Hubbard’s studio in East Aurora NY, and a scheme to make money.

File contains 4 prints, including 2 prints from the same plate on different papers (12.5 x 10 cm

File contains 15 leaves removed from books including plates of models and statuary. Also included are 3 leaves, probably from an art periodical, on Munsell

File contains drawings removed from a small sketchbook containing coloured pencil studies of elderly figures seated on park benches. One sheet contains drawings on the verso.

File contains drawings on paper in pencil, charcoal and brush that contain studies of individuals.

Notebooks document Munn’s student life in New York City and at the Art Students League Summer School in Woodstock. She recorded her lecture notes, essays containing reviews and summaries of books read, notations regarding books of interest, sketches, anatomical drawings, copies of historical works of art, poems, and occasionally ephemera. Under the tutelage of her teachers at the Art Students League – Andrew Dasburg, Max Weber, A.S. Baylinson, Stanton Macdonald-Wright and Henry L. McFee, she embraced modernism and gained exposure to literary, artistic and musical influences of her day. The notebooks show her to be an avid reader with a keen interest in the intellectual life of her time and in the artistic expression of other cultures and epochs. There is a particular delight in pattern and an underlying search for explanation and order. On the front pastedown of Notebook No. 8 she wrote, “Perfect beauty is the expression of perfect order, balance, harmony, rhythm. Beauty is a supreme instance of order intuitively felt, instinctively appreciated”. The notebooks are undated, with the exception of No. 5.