Clare Ellaline Hope Leighton was an English printmaker who immigrated to the United States in 1939. The Clare Leighton Papers date from the mid-twentieth century and include woodblocks, preparatory prints and drawings, engravings, and correspondence related to Leighton's artistic practice.

The Clare Leighton Papers document Leighton's artistic production, and particularly her illustrations for the book Southern Harvest, published by the Macmillan Company in 1942, and The Frank C. Brown Collection of North Carolina Folklore, a seven-volume series published by Duke University Press from 1952-1964.

Materials in the collection include printer's proofs, preparatory sketches and prints, sketches, engravings, and a limited amount of correspondence related to the publication of Southern Harvest, the printing of Under the Greenwood Tree, and to the acquisition of the Clare Leighton Papers.

Joe Sitter's collection of fine printing specimens and broadsides, as well as his subject files on various presses and artists.

Broadsides, prints, and prospectuses from various fine press printers and artists; as well as subject files created by Sitter about various fine press printers and artists. Presses represented include The Whittington Press, Shanty Bay Press, Solmentes Press, and Ian Mortimer. Artists and printers represented are John Randle, Walter Bachinski, David Esselmont, Russell Maret, Howard Phipps, Miriam Macgregor, Hellmuth Weissenborn, and Judy Ling Wong.

Joe Sitter is a collector and friend of Gaylord Schanilec. Gaylord Schanilec is a notable American wood engraver, printer, designer and illustrator. He is the proprietor of the press Midnight Paper Sales, located in Stockholm, Wisconsin. Sitter's collection includes original wood engravings, publications, clippings, printer's waste, correspondence, and other materials documenting the artwork and career of Gaylord Schanilec.

Collection consists of Joe Sitter's files and acquired artwork documenting the career of Gaylord Schanilec, including examples of Schanilec's wood engravings; fine printing prospectuses and keepsakes featuring Schanilec's work; Schanilec illustrations from publications by Midnight Paper Sales and the Gregynog Press; printer's waste and other printing scraps; clippings and articles documenting Schanilec's career, public appearances, and publications; correspondence between Sitter and Schanilec; and some photographs of Schanilec.