The Lillian E. Travis papers relating to William Glackens and Charles Prendergast measure 0.2 linear feet and date from 1917-1984. The majority of the collection consists of photographs of William Glackens, his family, and friends, Charles and Maurice Prendergast. The papers also include Ira Glackens's letters to Marion Travis and printed material.

The papers of New York City and New Mexico based postminimalist artist Richard Tuttle date from circa 1935-2018. The collection measures 26.6 linear feet and 4.14 GB. The evolution of Tuttle's art practice is well documented through biographical material; paper correspondence and email; writings and over 200 richly illustrated notebooks; exhibition and gallery files; residency and visiting artist files; book projects and print edition files; personal business records; printed material; photographic material; and sketches. The illustrated notebooks comprise a significant bulk of the collection and document Tuttle's visual explorations, travel, language studies, and inner life over six decades. Paper correspondence, particularly Tuttle's frequent letters to his parents over four decades, communicate personal and professional developments in detail. Other notable collection material includes biographical items documenting Tuttle's childhood, high school, and college life, as well as limited edition and one of a kind artist books. The collection contains born-digital material, consisting of emails, writings, images of artwork and installations, a presentation, and video recording. There is a 2.1 linear feet unprocessed addition to the collection including fabric samples for projects, receipts, printed material, sketches, installation photographs, notes and notebooks, and correspondence. A portion of the addition contains electronic media.

An interview of wife and husband Dale and Doug Anderson conducted 2005 July 21-22, by Tina Oldknow, for the Archives of American Art, in their home.

The papers of art patron Harriet Collins Allen measure 0.2 linear feet and date from 1897-1925. Found within the papers are letters primarily written by Solon Borglum and his wife, Emma, to Harriet Collins Allen. The letters were written from Omaha, London, Paris, and New York and provide a cursory overview of some of the events in Borglum's career and insights into his relationship with his older brother sculptor Gutzon Borglum. Borglum writes about meeting and working with other sculptors in Paris and New York and his wife writes about conflicts between the two brothers and exhibitions of Solon's work. Also found within the papers are clippings, a brochure for Borglum's book A Comparative Analysis of Natural Forms and Their Relation to the Human Figure, and photographs of Borglum in his studio and of his works.

The papers of painter and educator Jacqueline Gourevitch measure 5.6 linear feet and date from 1946-2019 and document her education at Black Mountain College, Black Mountain, N.C., and the Art Students League; her teaching career; and exhibitions in Chicago and New York through biographical material, teaching files, personal and professional correspondence, gallery and exhibition files, and printed material.

The papers of American Impressionist painter Edmund Greacen measure 1.2 linear feet and date from 1897-1972, bulk 1905-1949. The collection consists of biographical information and correspondence both personal and professional in nature, pertaining to his career as well as Greacen's various affiliations including the National Academy of Design, the National Arts Club, the Manhattan School of Art, and the Grand Central School of Art. Writings by Greacen, including an essay, "The Origins of Landscape Painting," and an unpublished book titled "Logic in Drawing" elucidate his perspective on art traditions and art education. There are works of art including pencil drawings and drypoint etchings, as well as photographs depicting portraits of the artist, group portraits documenting Greacen's various academic and professional affiliations, and reproductions of works of art. Also included exhibition catalogs, brochures, and other printed material.

The folder includes worksheets and photocopies of articles about the property.

The Corliss Knapp Engle slide collection contains 35mm slides of gardens, garden features, flower shows, and flora photographed by Corliss Engle, a self-taught photographer and horticulturalist. Much of the collection is comprised of photographic documentation of numerous private and public gardens that she visited throughout the United States. Of particular note are images of Engle's own garden in Brookline, Massachusetts, spanning three decades; they provide excellent insight into the development and evolution of a garden over time. Portions of the collection highlight Engle's involvement with the Garden Club of America and the GCA's Garden History and Design Committee. The collection also includes various notes, lecture scripts, brochures, programs and articles on garden and plant-related themes generated or compiled by Corliss Knapp Engle.

- Handwritten notes from Photo File 33 reads, "Top = squeeze 22: Cuneiform; marked on print 'Akkad. IId 6-11'. Squeeze marked '5-11'; on back '9'."

- Handwritten notes from Photo File 33 reads, "Bottom = squeeze 20: Cuneiform; print marked 'Akkad. links IVa 19-24'. Squeeze marked '18-24'; on back '18'."

- Additional information from Finding Aid reads, "Subseries 4.33: Photo File 33. 'Squeezes: Cuneiform and Arabic inscriptions.' Subseries 4.33, image No. 1a (Negative Number: 5036): (top) Squeeze 22; (bottom) Squeeze 20."

- Additional information from Roland G. Kent's 1953 publication reads, "DNb = Darius, Naqsh-i Rustam. The inscription Naqsh-i Rustam B stands on the two sides of the door in the center of the crossbeam: Old Persian in the panel to its left, in 60 lines; Elamite, 43 lines, in the panel to the right, with an Aramaic version in 25 lines at the bottom;...

- Additional information from Roland G. Kent's publication reads, "Some miles north of Persepolis, on the south face of a steep ridge known as Ḥusain Kūh or 'Mountain of Husain', there are four gigantic niches, cut in the shape of Greek crosses, and serving as entrances to the tombs lying in the rock behind them. The second from the east is the tom...

- Additional information from staff reads, "Herzfeld has divided the Akkadian version of inscription DNb into six row of squeezes, numbered I to VI, with a total of 39 lines. A letter, numbered a to e, then was added to the Roman numeral for the position of the squeeze starting from left. These two squeezes have been numbered by Herzfeld: IId and I...