The Dial, 1914

A variety of material comprises this series, which Zigrosser apparently maintained in no particular order. Although most of the material is not identified to indicate why Zigrosser retained it, collectively this series suggests his interests professionally, personally, and often a combination of the two.

There are approximately 150 greeting cards and postcards in the first sub-series, and all but one are holiday related. Most were sent to Zigrosser and his wife Laura, and inscribed with brief personal messages. The cards vary in style, including photographs of family portraits and residences, traditional comercially-produced cards, cards specially designed with unique themes and formats, and cards commercially-produced depicting works of art. About half the cards pertain to the last category, many depicting objects held at the Philadelphia Musuem of Art. There is also a list of works from the museum's Prints and Drawings Department that were reproduced as cards. Drawings by Zigrosser's young relatives and any holiday mailings with no visuals or with significant personal writing are part of the "Memorabilia" series. Brochures created as holiday keepsakes are also in the latter series. "Periodicals" are the other large category and just by title give a clear indication of Zigrosser's interest in the arts and often their role in social activisim. Publications range from Art News and the Mask, which is devoted to the theatre, to Art Front, which reported on the activities of the Artists Committee of Action and the Artists Union. The Liberator is the best represented here, with issues from 1918 to 1924. Its subhead declared it to be the "journal of revolutionary progress." Other materials included in the first subseries are a few exhibition catalogues, bulletins, ephemera, foreign and U.S. newspapers, photographs, film and glass plate negatives.

The last subseries represents the few files Zigrosser identified by subject. Almost all are newspaper clippings that pertain to "Cartoons" or "Philadelphia." There is also a chart identifying master engravers and etchers from 1425 to 1925.