The papers of art historian, art critic, author, librarian and educator Ellen Hulda Johnson measure 60.3 linear feet and date from 1872-1994, with the bulk of the material dating from 1921-1992. The papers include biographical materials; personal and family files; personal, professional, and business correspondence; extensive research and writing files; teaching files; subject files; professional and curatorial files; and artists' files. Johnson's papers reflect the full range of her career, interests, and close relationships with many artists. There is a 5.0 linear foot addition to this collection donated in 2019. Included are biographical material; correspondence; teaching and lecture files; financial and legal records; photographs of artists, events, and travels; sketchbooks; and video cassette tapes of events.

The papers of art historian, curator, and professor Robert Rosenblum measure 38.3 linear feet and 1.17 GB and date from circa 1927 to 2009, with the bulk dating from 1950 to 2006. They include biographical material, extensive personal and professional correspondence; lectures, writings, and writing project files by Rosenblum and others; exhibition files; research reference files; teaching files; personal business records; printed and digital material; photographs; and artwork.

The papers of William Couper date from 1872 through 1971 with the bulk of the material dated 1872 through 1908. The collection consists of 0.9 linear feet of letters, photographs, and printed material that document William Couper's career as a sculptor and his family life. Letters are from Couper and his wife to his parents, and to his brother John, discussing family matters, his art training, his travels, and his work in New York. There are also several letters from his father-in-law, sculptor Thomas Ball.

The papers of art historian, curator, and educator Patricia Hills measure 23.1 linear feet and date from circa 1900-2015, 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. 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 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.

The papers of feminist art historian and educator Linda Nochlin measure 31.2 linear feet and 3.9 gigabytes and date from circa 1876, 1937 to 2017. The collection is comprised of biographical materials; date books and notebooks; correspondence; writing project files that include material on Gustave Courbet and realism, bathers and the body, essays and lectures on 19th century art among other topics, artists, and smaller writing projects; professional files containing material on conferences and fellowships; teaching files detailing courses taught by Nochlin at New York University Institute of Fine Arts and other institutions; printed materials; artwork; and photographic materials that document Nochlin and her relationships with family, colleagues and friends, and artists.

The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.

The papers of architectural historian, author, critic, teacher, and museum director, Henry-Russell Hitchcock, date from 1919-1987 and measure 24.8 linear feet. Almost all of the collection is comprised of Hitchcock's correspondence files relating to academic research, teaching, curatorial interests, and professional associations. Letters are from prominent architectural historians, architects, artists, preservationists, museum directors and curators, and family and friends. Also found are two feet of writings by Hitchcock and others, scattered biographical information, printed material, and photographs of Hitchcock and architecture.

The Balcomb and Gertrude Greene papers, circa 1880s-2009, bulk circa 1905-1990, measure 9.8 linear feet. Balcomb Greene's career as a painter, educator, and writer - and to a lesser extent his personal life - is documented by biographical material, letters, subject files,writings, artwork, audio-visual recordings, printed material, and photographs. Documentation about sculptor Gertrude Greene, from 1926 until her death in 1956, consists of printed material, photographs, two letters to her, and a brief handwritten list of paintings and constructions.

The papers of painter and teacher Frank Duveneck and his wife and painter Elizabeth Boott Duveneck measure 1.2 linear feet and date from 1851-1972, bulk 1851-1919. Aspects of the lives and work of the artists are documented in correspondence, creative writings, research notes, scrapbooks, newspaper clippings, magazine articles, ephemera, sketches and sketchbooks, and vintage photographs.

The Alexander Archipenko papers measure 19.5 linear feet and date from 1904 to 1986, with the bulk of materials dating from 1930 to 1964. The sculptor's personal and professional life is documented by correspondence, financial records, scrapbooks, printed matter, and photographs documenting his art, exhibitions, travel, teaching activities, and the Archipenko Art School. Archipenko wrote and lectured extensively about his philosophies of art and the relationship between art and nature. The papers include drafts, notes, and final manuscripts of published and unpublished writings, and notes, outlines, transcripts, and audio recordings of some of his lectures.