The Sally K. Ride Papers consists of over 23 cubic feet of papers, photographs, certificates, and film, created or collected by Sally Ride and chronicling her career from the 1970s through the 2010s. The papers document Ride's lifetime of achievements and include material relating to her astronaut training and duties; her contributions to space policy; her work as a physicist; and her work as an educator, including Sally Ride Science and related STEM projects.

These records consists of correspondence, memoranda, reports, budgets, ledgers, day books, and other administrative materials concerning the operations of the Smithsonian International Exchange Service (SIES). Also included is a card index of employees who served between the 1880s and the 1940s. SIES maintained two or more sets of corresponde...

Photograph album of commercially-produced photographs of Panama Canal construction.

The photographs of San Francisco photographer William J. Eisenlord measure 0.3 linear feet and date from 1953-1976. Photographs depict the City Lights Bookstore of San Francisco, California and the exhibition opening of "Poets of the Cities" at the San Francisco Museum of Art in 1976. Also included are photographs of jazz and beat poetry performances taken by Ed Nyberg in 1957.

The letters of Thomas Eakins measure 0.2 linear feet and date from 1866 to 1934. They primarily document the period between 1866 and 1869 that he spent studying art in Paris, as well as his career as a portrait artist.

The papers of Dorothy Dehner measure approximately 4.5 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents the life and work of the sculptor. Papers include extensive correspondence, business and financial papers, writings, interviews, printed material, photographs, student papers, one item of art work, and scattered personal papers and material relating to David Smith.

The papers of acclaimed miniaturist and co-founder of the National Academy of Design Thomas Seir Cummings (1804-1894), measure 0.4 linear feet and date from circa 1824-1983, with the bulk of the material dating from circa 1824-1894. Papers include correspondence, writings and notes, personal and academy business and financial records, and printed material, which provide scattered but significant documentation of Cummings's various roles at the National Academy of Design and as an author and educator.

The papers of Kenyon and Louise Cox measure 0.3 linear feet and date from 1876 to 1977. Included are Kenyon and Louise's Certificate of Marriage, autobiographical notes by Louise focusing on her time at the National Academy of Design, writings, and correspondence, primarily from Kenyon Cox, including several illustrated letters. Also found is artwork by Kenyon and others, including Julian Alden Weir, biographical material on Jacob Dolson Cox, Keyon's Father, photographs and printed reproductions of artwork, magazine and newspaper clippings, an unpublished bibliography on Kenyon Cox, and a handwritten list of Kenyon Cox paintings in the National Academy of Design permanent collection.

The Thomas B. Clarke letters from or about Homer Dodge Martin measure 0.2 linear feet and date from 1893-1897. Twenty-two letters from Martin to art collector and patron Thomas B. Clarke, document Martin's work, his financial struggles, and his physical and mental condition in the last 5 years of his life. Additional letters to and from others further illuminate Martin's relationship with Clarke and provide insight into his financial affairs and the increasingly favorable market for the painter's work just prior to and following his death in 1897.

The papers of arts administrator, collector, and educator Agnes Rindge Claflin concerning Alexander Calder measure 0.2 linear feet and date from 1936-circa 1970s. Included are five letters, two of which are illustrated, and one postcard from Alexander Calder to Claflin; two handwritten manuscripts by Calder, one untitled and "A Propos of Measuring a Mobile," 1943; an invitation to a Calder exhibition at Galerie Maeght, Paris, 1952; and 14 photographs of Calder, of Calder and Claflin in Calder's studio, of Calder's art work, and of a Calder exhibition installation at Vassar Art Gallery, 1942. Transcriptions of three of the letters and both manuscripts are also included.