Series I. Photographs contains silver gelatin and cyanotype prints of various historic locations. The series is divided into two subseries: 4 x 5 Inch Prints and 5 x 7 Inch Prints, which are further arranged by location.

Subseries I.A. 4 x 5 Inch Prints contains silver gelatin prints of sites in Connecticut, Delaware, New Jersey, New York and Pennsylvania. Images in Connecticut include several view of General Israel Putnam's Homestead in Greenwich. New Jersey locations include Washington Rock in Plainsfield, Washington's Headquarters in Somerville and Cornwallis' Lodge in Alpine. Pennsylvania images include monuments in Valley Forge, Independence Hall, the Betsy Ross House and the Barstram House all in Philadelphia.

The majority of photographs are New York State sites. Historic homes include Van Cortlandt Manor in Croton-on-Hudson, Hunt Mansion in Hunts Point, Washington's Headquarters in Newburgh and Stone House at West Haverstraw, where General Lafayette stayed during his return visit to the United States.

Along with images of buildings and historic locations in New York State, there are also portraits. These include several images of an unnamed "Ramapo Mountaineer Family," posed beside their primitive log home. There are also two photographs of James Johnson along with his family at their White Plains home. The note on the photograph identifies Johnson, an African American, as a former slave from Florida who, after escaping from his master, enlisted in the Navy and served in the Civil War.

Subseries I.B. 5 x 7 Inch Prints includes both silver gelatin and cyanotype prints that are 5 x 7 inches and larger, as well as 4 x 5 inch prints that are mounted on paper or board. Photographs contain images of sites in New Jersey, New York and Pennsylvania. New Jersey images include the Aviation field at Lakehurst.

Photographs of Manhattan include one image of a shanty town at Fifth Avenue, north of 116th Street, taken in 1893. Other images include High Bridge, the Morris-Jumel House and Hamilton Grange.

Series II. Negatives is arranged into subseries: 4 x 5 Inch Negatives, 5 x 7 Inch Negatives, 5 x 8 Inch Negatives, and 8 x 10 Inch Negatives, each of which is arranged by geographic location.

The subjects covered include historic buildings in New York City such as the Century or Nagel House in Inwood, the Dyckman House in Inwood, Fort Tryon Park, Hamilton Grange and St. Luke's Episcopal Church, the home of the High Rock Gang at Fifth Avenue and 116th Street, the burying ground and Hunt Mansion at Hunts Point, the Morris-Jumel House, the Poe Cottage in Fordham, the Schenk House in Jamaica Queens, Split Rock at Pelham Bay Park, the Van Cortlandt House and Mill at Van Cortlandt Park. Staten Island sites include the Billop House, Cement House, Cubberly House, Fountain House, Gifford House, Guyon-Clark House, Kreutzen-Pelton House, Lake-Tysen House, Latourette Farm, and St. Andrews Church.

The collection also contains a dozen views of the Inwood neighborhood in Manhattan, views of the Spuyten Duyvil Creek and Spuyten Duyvil Ship Canal during construction, High Bridge, and the Washington Bridge.

Photographs of historic buildings outside of New York City include Washington's Headquarters and the Wick House in Morristown, New Jersey, Van Cortlandt Manor House on the Croton River in Harmon, New York, Washington's Headquarters at Newburgh, New York, the Old Dutch Church and Philipsburgh Manor in Sleepy Hollow, New York, the old '76 Stonehouse in Tappan, New York, West Point, Valley Forge in Pennsylvania. Also included are views of the Benedict Arnold House, Carpenters' Hall, and Independence Hall in Philadelphia.

Series III. Envelopes contains envelopes which once housed the 4 x 5 inch photographs. Each envelope has a handwritten description of the photograph as well as a negative number and a print number, assigned by Wenzel. The information from these envelopes has been transcribed on the reverse of each photograph, when it had not already been written by the photographer. However, in some cases, text on the photograph differs from the envelope. Also, there were several envelopes that did not contain prints. The envelopes were retained to preserve this information. Envelopes are arranged numerically by the photographer assigned print number. There are two negative sleeves, which are housed at the end.