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The Alvan Stewart diary contains approximately 200 handwritten pages of a diary by New York lawyer and abolitionist Alvan Stewart (1790-1849). The diary chronicles Stewart's travels from May to September 1831, including a sea voyage from New York to Liverpool, his travels through England and France, and the return voyage.

The Alvaro de Villa Collection contains writings and personal papers of Alvaro de Villa, mostly related to his work as a novelist, screenwriter, and writer for the 1970s American bilingual sitcom, ¿Qué pasa, U.S.A.? It includes episode scripts, drafts, news articles on de Villa and the show, manuscripts of other novels and projects, audiovisual materials, and personal papers.

The Amalia Bacardí Collection contains documents and correspondence related to Sir Lambton Loraine, known for his involvement in the Cuban Insurrection against Spain (1868-1878).

The collection contains documents regarding Sir Lambton Loraine, commander of the H.M.S. Niobe, whose negotiations stopped the execution of Cuban revolutionaries involved in the Ten Years' War between Cuba and Spain (1868-1878). The Cuban captives were taken by the Spaniards from the American vessel Virginius to Santiago de Cuba in November 1873.

The collection also contains photostatic copies of reports received from Loraine relative to the action taken in connection with the protection of the Virginius captives; these documents were presented to Emilio Bacardí Moreau by the Lords Comissioners of the Admiralty. The collection also includes a menu for a 1922 banquet inaugurating the bust of Commander Loraine; Emilio Bacardí Moreau's invitation to said banquet; and correspondence and photographs from Mr. Ernest P.V. Brice, British Consul, to Mrs. Elvira Cape Viuda de Bacardí.

This collection contains photo albums, interviews, the McCourt family tree, clippings, notes, correspondence, manuscripts, photo albums, resumes/CVs, legal documents, and other archival documents about Sue McCourt Cobb’s career as an American Ambassador to Jamaica (2001-2005) and the former Secretary of State of Florida (2005-2007) and her climb on Mt. Everest.

Correspondence, broadsides, fact sheets, notices and publications pertaining to the advocacy work of the American Committee for the Protection of Foreign Born from 1964 to 1992. The documents reflect a concern for the rights of immigrants through letters of appeal and thanks, narratives of individual cases of deportation, invitations to rallies and educational conference on the “Bill of Rights” and the status of immigrants, permanent residents and naturalized citizens living in the United States. The organization’s literature also includes information on pertinent legislation such as the Walter-McCarran Act (no time limits on deportation and denaturalization), the Internal Security Act, the Kennedy-Feighan Bills (a time limit on deportation and denaturalization), the Nixon-Rodino Bill and the legal implications of “dragnet raids” of Latin Americans. Finally, the records from the 1970s also document the status of Mexican farm workers, issues of political refugees, and asylum rights of Haitians.

The diary of Amos Beebe Eaton begins on July 31, 1837 and concludes on August 24, 1838. This handwritten journal chronicles an extraordinary year in the life of a young lieutenant who served in the Second Seminole War. The diary contains personal observations, detailed reports on military activities, occasional sketches and drawings, and extensive  commentary on the Seminole Indians and life in Florida. All notations are in Eaton's hand, including the transcription of letters and military documents.

The Ana Rosa Núñez Papers contain both the personal papers of, and material collected by, Cuban librarian Ana Rosa Núñez. It includes articles, papers and newspaper columns written by Núñez, correspondence, postcards, photos, and books. Also included are manuscripts of poems and papers by her, awards, curriculum vitae, poems dedicated to her, and a signed Bible gifted to her. Further materials include scripts, operas, musical liberettos, mini-books of poetry, correspondence from Lydia Cabrera, Juan Ramon Jiménez, and others, audiovisual materials, and posters.

The Ana Rosa Velazco papers contains personal papers of former Cuban Museum of Arts and Culture member and AMIGOS of the Cuban Heritage Collection board member. Materials date from the late 20th century and inlcude scrapbooks, photographs, correspondence, meeting minutes, invitations, event programs, clippings, posters.

A typescript by Rudi Franke in which he narrates the journey to France of a German infantry during World War II. The document also includes photographs, maps and hand drawn sketches.

The papers document professional activities of Andrés Nóbregas, theater director and playwright staging his plays in New York Theater of The Americas and at the Hispanic Theater Festival in Miami. He also wrote for television. The bulk of material includes manuscripts of plays and libretti either written or directed or acted by Andrés Nóbregas. Materials also include some invitations and clippings regarding Hispanic Heritage Week.

Andrew Giel visited Cuba as a tourist 10 times between September 1955 and December 1959, traveling as far as Trinidad in Santi Spíritus. Fifty years later, Mr. Giel printed 8 x 10 enlargements from the original transparencies. Those prints are found in this collection. They include views from across the island, including Havana, Trinidad, and Santiago de Cuba. The collection also includes color prints of the black and white photography and photographic reproductions of Cuban postcards from the 1950s.

The 1955 slides were made with an Argus C4 camera and the later slides with a Leica IIIF.

This collection contains scrapbooks, loose prints, and photo albums of Canada, Haiti, the Dominican Republic, Puerto Rico, Miami, Miami Beach, and other countries in South America and the Caribbean.

The Andrew Kaufman Photography collection includes a box set of two hand made books created by the photographer that document the graffiti and street art in the Wynwood neighborhood of Miami. Also included in the collection is a folder of ephemera advertising Kaufman's photography business.

The Andreyaa Hora artist sketchbooks collection consists of Hora's complete works in sketchbooks from the period 2008 to 2019.

Collection description, provided by Martin Tsang, Curator of Latin American Collections:

The fifteen sketchbooks that represent a significant portion of the artist’s work, to date, include an incredible variety of media - drawings, prints, quotes, gathered materials such as clippings and test pieces. The themes present in the pages of the books refer to and draw upon numerous Afro-Atlantic traditions, including Haitian Vodou, Brazilian Candomblé, Cuban Lucumí, as well as Yoruba, Fon, and Kongo ethnic and spiritual African sources. There is inspiration, for example, from specific orishas such as Oyá, the transformative goddess of the Harmattan winds, the marketplace, and owner of the cemetery gates, as well as more elusive traditions including Santa Muerte. In Andreyaa Hora's sketchbooks, Caribbean and Latinx artists are present and referenced as wellsprings of inspiration, as are European, Asian, and Indigenous connections. The sheer variety of media shows how the artist works out her ideas on paper and devises approaches to best convey matters of the spirit, the mind, and the body. The sketchbooks offer a tantalizing and inspirational glimpse into the creative processes of making the abstract concrete and beautifully demonstrate and bring to life the many deities who travel between and beyond Africa, the Americas, and the entire world. The books reflect a deep spiritual connection to the divine as captured by the hand and heart of someone who is careful and concerned with safeguarding ritual knowledge while utilizing a wealth of techniques that help bring art to life.

Artist's statement:

"My interest in art began early for me. From the age of eleven, I began taking art lessons in school in my hometown of Ilheus, in the state of Bahia, Brazil. My father, an architect, was a tremendous influence on my style and his work blueprints helped me understand and define spaces through lines, shapes, and forms. Through watching my father work and under his tutelage, I gained an appreciation of geometry and scale and working on paper to create pieces that could be developed into larger pieces, and also the importance of playing with materials and experimenting with forms. This early start in and out of school led me to further my abilities by taking private lessons with local artists that helped challenge my abilities and ways of seeing. Ultimately, these artists fostered inside me an abiding fascination with art that continues to this day.

I continued my studies at the University of La Rochelle, France and continued my practice under the guidance of local artists engaging with painters across the Niort region. In 2008 I became deeply interested in printmaking, inspired by the work of David Jones and Eric Gil whose work I saw in Wales in the UK. This period was a pivotal moment for me as this medium became my anchor in my mode of artistic expression. From this time, I also explored and embraced digital media and developing artistic technologies to further my methods. Viewing the work of James Jean was my inspiration to venture and experiment in new realms.

It was while studying and working on art in Europe that I began to appreciate the history and migrations that created the Lusophone Atlantic movements over the centuries. Through my art I started to explore and express facets of my Brazilian culture and my work is heavily inspired by deities of the African descent actively worshiped in Brazil and many countries of the Americas through the project of Trans-Atlantic slavery. The orishas - the pantheon of gods and goddesses are greatly present in my art and I explore ideas of contact and strategy of religious expression with references to deities in other African derived religions, indigenous beliefs, and the inclusion or transformation of European deities and philosophies by practitioners. I am particularly interested in exploring ideas, effects, and the presence of LGBTQ practitioners and how these are reflected in images of the divine in these Afro-Atlantic religions. I became fascinated by cordel - woodcut printed literature production of artists who I worked with in northeast Brazil. As an orisha priest and practitioner, I have devoted a considerable amount of my artistic output to creating works that reflect these deities in different methods drawn from these methodologies and my work is often commissioned by practitioners and my art now represents a movement of signifying worship in private and public ways.

I use a variety of printmaking techniques. I use manual techniques such as woodcut and linoleum which give my art a homely, rustic feel reminiscent of the art of Northeast Brazil which is close to my roots. I also use digital painting techniques that are rich in texture and colours. Whichever method I use, I start by sketching out my ideas in my notebooks which record my thought processes and studies much in the same way as a filmmaker would create a storyboard. From the outset, sketchbooks are key to my art process as they are a place to gather information: quotes, photos taken from a variety of places, works from the myriad of artists who inspire me, old and new. My sketchbooks have been shared with very few people as I am a perfectionist I would rather show a finished piece. My books represent the unfinished and undone, even messy work that includes my sketches and some are uncomfortable or dark visual thoughts, things that I feel I need to have an outlet for however I know will probably not make it into my exhibited works.

I create art because it is an intrinsic part of who I am and what I do. I couldn’t put into words what compels me to do it – I cannot imagine doing anything else. I take inspiration from folklore, music and the world around me and the world inside of me with all its contradictions, queerness, and search for the divine."

The Angel Gaztelu Papers contain poetry collected by Father Angel Gaztelu and articles written by him.