The papers of portrait painter and art teacher Gordon Kelly measure 0.4 linear feet and date from 1942 to 1988. The collection primarily documents Kelly's brief tenure at the Art Students League and his extensive correspondence and collaboration with artist Kenneth Hayes Miller. The papers include correspondence, contracts, writings, artwork, printed material and four photographs.

The papers of New York based artist and educator Ruth Abrams measure 1.0 linear foot and date from 1934 to 1984. The collection includes correspondence, writings and notes, personal business records, printed material, and photographs.

The Peter Hopkins papers measure 2.4 linear feet and date from 1823-2001, with the bulk of the materials dating from 1935-1994. Writings, letters and diaries make up most of the collection. Printed materials relate to exhibitions of Hopkins' artwork and theatrical performances of his wife, Gertrude Beach Hopkins. There also are writings by both Hopkins and his wife that appeared in the Christian Science Monitor. Of particular interest is a group of vintage family photographs and family papers dating from the 19th century, as well as diaries Hopkins kept while traveling and working in a mental hospital in inland China in the mid 1930s.

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 Arts 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 Robert Richenburg papers, circa 1910s-2008, measure 5.3 linear feet and 4.32 GB. Biographical material, correspondence, subject files, writings, sound and video recordings, printed material, and photographs document the professional career and personal life of the educator and New York School painter and sculptor best known for his Abstract Expressionist paintings.

The papers of New York City sculptor, painter, educator, and writer Lorrie Goulet (1925- ) measure 10.0 linear feet and date from 1931 to 2009. Goulet's career is documented through biographical materials, correspondence, writings and notes, interviews, exhibition files, project and commission files, teaching files, personal business records, printed materials, photographs, and artwork.

The papers of New York painters and teachers Josef Presser and Presser's wife Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as artists and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.

The papers of New York painter and art instructor, William Merritt Chase, measure 0.3 linear feet and date from circa 1890 to 1964. Papers include a resolution of the Art Club of Philadelphia on Chase's death, letters, writings by Chase consisting of typescripts of lectures and lecture notes, blank postcards primarily depicting reproductions of artwork, a scrapbook, and photographs of Chase, his family, homes, and studios, and photographs of works of art.

Bryson Burroughs photographs of artwork measure 0.6 linear feet and date from circa 1935 and circa 1983. The collection consists of glass plate negatives and copy prints of artwork, primarily paintings, by Burroughs.

The papers of abstract painter and art instructor Vaclav Vytlacil date from 1885-1990 and measure 5.2 linear feet. Found within the papers are scattered biographical materials, correspondence primarily discussing art school-related matters and the exhibition and sale of Vytlacil's work, scattered business and financial records, and notes and writings including lecture notes. The papers also contain audio recordings of interviews of Vytlacil and his associates, artwork by Vytlacil and others, four scrapbooks, printed material including clippings and exhibition catalogs, and photographs of Vytlacil, his colleagues, and his artwork.