The papers of painter Alexander Brook measure 4.3 linear feet and date from 1900-1982. Found within the papers are biographical material; personal and professional correspondence; writings; personal business records; printed material; scrapbooks; artwork; and photographs of Brook, his family and friends, and his work.

The scattered papers of New York City painter Elsie Driggs date from 1924 to 1979 and measure 0.2 linear feet. Included are correspondence, writings by Driggs, personal business records, printed materials, and portrait and family photographs.

The papers of painter Dorothy Varian date from circa 1902 to 1984 and measure 2.3 linear feet. This collection documents Varian's life primarily through scattered biographical material; correspondence with family, friends, artists and art galleries; personal business records; a few writings; exhibition catalogs, news clippings, and other printed material; photographs of Varian, her friends, and artwork; and original sketches by Varian and fellow artist Peggy Bacon.

The papers of printmaker, illustrator, caricaturist, and writer Peggy Bacon measure 3.6 linear feet and date from 1893 to 1973, with the bulk of materials dating from 1900 to 1936. Much of the collection consists of family correspondence, although writings, photographs, artwork, and personal business records from Bacon's late career are also found.

The papers of painter and muralist Louis Bouché measure 5.9 linear feet and date from 1880 to 2007. Found within the papers are biographical material; personal correspondence, including correspondence from the extended Bouché family; writings; financial records; printed material; four scrapbooks; artwork; and photographs of Bouché, his family and friends, and his work.

The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehns personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York City art gallery devoted to American painting.

The records of the New York City based Valentine Gallery measure 1.8 linear feet and date from circa 1890 to 1960. The bulk of the material documents the gallery's dealings with artists Louis Eilshemius, John Kane, Henri Matisse, and C.S. Price. Additionally, there is one scrapbook which contains printed materials regarding Valentine Gallery exhibitions from 1925-1936.

The collection, which dates from the 1980s and measures 1.42 linear feet, was compiled in the course of preparations for the "Black Women: Achievements Against the Odds" exhibit, which was staged at the Anacostia Museum from February 1976 to December 1976. This collection documents the lives and achievements of African American women in a variety of fields, including law, medicine, education, politics, science and the arts. The collection is comprised of documents, magazine and newspaper clippings, correspondence, photocopies, brochures and pamphlets.

The Library of Congress Copyright Deposit Collection is comprised of 2,335 photomechanical reproductions of works by 741 artists (mostly American). The large-format prints, deposited with the Library of Congress for copyright between 1890 and 1945, represent a broad range of nineteenth- and twentieth-century American art.

The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. There are scattered biographical documents, correspondence with fellow artists such as Peggy Bacon, Warren Chappell, Edward Laning, and R. B. Kitaj, and with writers, curators, museums, galleries, arts organizations, and others. Also found are arts organization files, Bishop's writings about Warren Chappell and friend Reginald Marsh, notes, exhibition catalogs, news clippings, and other printed material, photographs of Bishop and her artwork, and photographs of Reginald and Felicia Marsh. Original artwork includes 8 sketchbooks, loose sketches, prints, and watercolor figure studies.