Papers of the Artists' Suffrage League, 1905-1912, including correspondence, drawings, cartoons, prints, poster, postcard, programmes and their covers, notices press clippings, album of designs by Mary Lowndes.

The archive consists of biographical publications on Louie Burrell and postcard reproductions of her work:

• 13 postcard reproductions of the following paintings by Louie Burrell: Life Class (1900-1903); Girl at Writing Box (c 1895); A Model (1900-1903); Old Sales - a model (1900-1903); Making Marmalade (1890-1900); Philippa (1917); A Model (1900-1903); The Forge (1890-1900); Julia (1889); A Child Seated (1904); Mrs Stanley Baldwin (1924); Nurse and Philippa (1908); Philip Burrell (1904-1907)

• 1 postcard reproduction of a painting by Ada (Margetts) Luker (mother of Louie Burrell): Still Life (c 1857)

• 'The Saratoga Trunk and The Last Door' (Jul 1997), Philippa Burrell. Booklet memoir relating to her own and her mother's artistic life.

• 'Louie Burrell - A Woman Painter', (The University of Hull Art Collection, c 1990). A short biography compiled from the letters and writings of Philippa Burrell and Jim Murrell.

• 'Louie Burrell Woman and Artist 1873-1971' (c 1990). Leaflet by Philippa Burrell.

The archive consists of copies of information pieces that appeared in art magazines during their media campaign to draw attention to discrimination and inequality in the art world. It also includes an article about Fanny Adams, a bibliography of 'Fanny's moments in the press' and video footage of events, including 'Fanny's Big Ball', 28 Oct 1992.

The archive consists of photocopies of letters sent to Fraenkel by Pankhurst mainly concerned with an exhibition of the latter's paintings which Elsa organised and which was held in London in 1959. Includes a pastel drawing of Pankhurst by Fraenkel (c.1957).

The collection contains Lindsay Cooper’s personal papers, works and associated materials. This includes autobiographical writing, including diaries (1950s - 1994) which detail her daily life, living with multiple sclerosis and her relationships with women. Alongside this are material relating to her early life and family history. It also includes musical scores, notebooks, photographs, correspondence, ephemera directly and indirectly related to her music career and life within the jazz and progressive rock scene. The collection also contains a diverse variety of audio visual material, both commercial studio and live recordings, both written by Cooper or featuring her, which have been digitised.

The archive consists of printed flyers and a pamphlet, an interview transcript, press cuttings and other papers relating to the photographer Melanie Manchot and exhibitions of her work.

The file comprises:

• Curriculum Vitae of Melanie Manchot, c 1998

• Essay by the exhibition curator Maeve O'Brien, of Nottingham Trent University Bonnington Gallery, on the exhibition 'Lifelines' that featured silver gelatin print photographs of Manchot's naked mother, Jun 1998

• Transcript of interview between Manchot and Penny Martin [then archivist at The Women's Library], c 2000

• Four press cuttings relating to the exhibition 'Lifelines', from 'Time Out', 'Scene' and the 'Independent on Sunday', 1996-1998.

• Publicity flyers for exhibitions featuring Manchot's work: 'Behind the Screen', 'The Ugly Show', 'Light Sensitive', 'Lifelines', 1998.

• Catalogue for 'Lifelines' with reproductions of Manchot's photographs and an essay on her work by Sue Hubbard.

The archive consists of two notebooks containing Martineau's diaries, describing her training at art colleges in London and her social and family life (1892-1914). Also includes a typescript of a lecture based on the diaries given by historian Elizabeth Crawford at a Women's History Network Conference, Sep 2005.

The archive consists of 77 letters to Bodichon mainly from Helen Taylor, James Joseph Sylvester, Marianne North, the Hill Family and various other correspondents (1827-c 1891); offprints of papers written by the donor related to Helen Taylor (1978), James Joseph Sylvester (1981) and Marianne North (1989).

The archive consists of papers relating to the activities and members of See Red Women's Workshop, 1974-1984. It includes correspondence; notebooks containing minutes; press cuttings; poster catalogues and photographs showing members at work in the screen-print workshop.

The archive consists of greetings cards, postcards and posters produced by Wildcat Cards; a selection of cards produced by women; slides, negatives, mock ups and proofs, photographs and some original artwork; advertisements and press releases, catalogues, order forms, price lists, artists briefs and press cuttings; correspondence, administrative and financial papers.

The archive consists of correspondence (1903-1949); printed and typescript copies (including corrections) of plays (1913-1938); diaries including one written by her companion Fanny Laming (1922-1952), drawings, leaflets, albums containing sketches, verse, programmes of entertainment, photographs, receipts, press cuttings, etc (1893-1952); biographical notes (1930s); verse (1915-1953); drawings; papers related to the National Federation of Women's Institutes (1917-54); papers related to her activities in the First World War; materials concerning the death of Williams (1957-9).

The collection contains letters from women involved in the arts concerning their work, business matters, publicity, articles and general social correspondence. Correspondents include Sarah Siddons, Emily Faithfull, Fanny Kemble, Elizabeth Thompson, Isabella Dallas Glyn, Mary Davis, Fanny Stirling, Mrs Morritt, Lady Bancroft, Genevieve Ward, Lucy Kemp-Welch, Madge Kendall, Mrs Steele, Philippa Strachey, Ethel Coffin, Rutland Boughton, Marion Terry, Eva Moore, Sybil Thorndyke, Alys Russell, Lena Ashwell, Marie Tempest, Agnes Hill, Marie Lohr, Dame Ethel Smyth, Irene Vanbrugh, Ruth Draper, Ethel Warwick, Dame Laura Knight, Cicely Courtney, Lilian Braithwaite and Ninette de Valois.