This accession consists of records documenting declined artwork offered by artists, private collectors, dealers, art galleries, foundations, corporations, and through estates and loans to the Smithsonian American Art Museum. Earlier records date back to when the museum was known as the National Museum of American Art and the National Collection …

The papers of caricaturist and illustrator Alfred J. Frueh measure 7.7 linear feet and 3.18 GB and date from circa 1880-2010. These papers consist of biographical information, including a sound recording of reminiscences about Frueh by his children; correspondence that includes many illustrated letters and greeting cards; notes and writings; numerous caricature sketches, cartoons, and 25 sketchbooks by Frueh; printed and digital material; and photographs of Frueh and his artwork. There is a 2.3 linear foot unprocessed addition to this collection donated 2020 that includes bound and unbound scrapbooks and loose newspaper and magazine clippings of caricatures by Frueh from the New Yorker and other publications, circa 1920-1940.

The records of Jacques Seligmann & Co. measure approximately 203.1 linear feet and date from 1904 to 1978, with bulk dates from 1913 to 1974. The collection includes extensive correspondence files, reference material on American and European collectors and their collections, inventory and stock records, financial records, exhibition files, auction files, and the records of subsidiary companies. The collection is an invaluable resource in tracing the provenance of particular works of art and provides a comprehensive view of the activities of collectors and art dealers in the years leading up to and following World War II.

This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers …

Collection documents an awards program established in 1989 as a partnership between Computerworld Magazine and the Smithsonian Institution. The Computer World Smithsonian Awards (CWSA) brought together the Chairmen of Chief Executive Officers of the world's foremost information technology companies with the world's leading universities, libraries and research institutions to document a revolution in progress—the global information technology revolution. The program identified men, women, organizations and institutions leading the technology revolution and asked them to contribute case studies. Collection consists of case studies which include questionnaires, essays, oral histories, conference proceedings, publications, video tapes, photographs, slides, software, and product samples about each project.

The C. J. (Clarence Joseph) Bulliet papers measure 34.6 linear feet and are dated circa 1888-1959. Biographical materials, correspondence, writings, subject and artist files, printed material, photographs, and artwork document the career of the influential Chicago art critic and writer. The records contain extensive information about art and artists in Chicago and the Midwest from the early to mid-twentieth century.

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.11 consists of orders placed at the Custom Craft Studio. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

The papers of art historian, curator, and educator Patricia Hills measure 47.5 linear feet and 0.113 GB and date from circa 1900-2022, bulk 1968-2009. Central to this collection are project files documenting professional work that resulted in lectures, publications, exhibitions, art history courses on numerous artists including Alice Neel, Jacob Lawrence, May Stevens, Rudolf Baranik, and John Singer Sargent. These files and files documenting Hills's tenure at the Whitney Museum of American Art include planning documents, research files, correspondence, manuscripts and accompanying publications, as well as other printed materials. Some of this material is in digital format. The collection also contains correspondence with art historians, artists, curators, and others, notably Lawrence Alloway, Lowery Stokes Sims, Lucy R. Lippard, T.J. Clark, Leon Golub, and Donald Kuspit; professional files documenting grants and residencies awarded and consulting work; artist and subject files; other writings; and printed and digital material. Membership and affiliation records document Hills' service to the profession, including Women's Caucus for Art and the Visual Culture/Art History Caucus of the American Studies Association. There is an 8.4 linear foot unprocssed addition to this collection donated in 2022 that includes Patricia Hills' research material regarding Eastman Johnson, consisting of biographical information; professional correspondence; printed material; institutional, exhibition, subject and genre files for Eastman Johnson's works of art; photographs of works of art; writings and lectures; catalog cards; and files regarding works not by Johnson.

The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.