This collection contains 3 photographs depicting Diné (Navajo) artist R.C. Gorman and one poster depicting his artwork.

Photographs made as part of Joseph C. Farber's project to document modern NAtive American everyday life. Represented tribes include the Acoma, Apache, Blackfoot, Chehalis, Cherokee, Cheyenne, Chippewa, Cocopa, Dakota, Eskimo, Haida, Kiowa, Kutenai, Lummi, Mohave, Mohawk, Navaho, Northern Athabascan, Onandaga, Pima, Pueblo, Quinalt, Seminole, Taos, Tlingit, and Zuni. Subject coverage …

Correspondence; files on 42 artists, containing clippings, photos, exhibition catalogs and letters; exhibition files for her gallery, Gallery of Wonderful Things, Fort Worth, Texas, and Tall Timbers, Houston, Texas; a scrapbook containing clippings, exhibition catalogs and announcements, photos, and letters about the Gallery of Wonderful Things; printed material and loan records …

Harrington was a Bureau of American Ethnology ethnologist involved in the study of over one hundred American tribes. His speciality was linguistics. Most of the material concerns California, southwestern, northwestern tribes and includes ethnological, archeological, historical notes; writings, correspondence, photographs, sound recordings, biological specimens, and other types of documents. Also of concern are general linguistics, sign language, writing systems, writing machines, and sound recordings machines. There is also some material on New World Spanish, Old World languages. In addition, there are many manuscripts of writings that Harrington sketched, partially completed, or even completed but never published. The latter group includes not only writings about anthropological subjects but also histories, ranging from a biography of Geronimo to material on the history of the typewriter. The collection incorporates material of Richard Lynch Garner, Matilda Coxe Stevenson, and others. In his field work, Harrington seems sometimes to have worked within fairly firm formats, this especially being true when he was "rehearing" material, that is in using an informant to verify and correct the work of other researchers. Often, however, the interviews with informants (and this seems to have been the case even with some "rehearings") seem to have been rather free form, for there is a considerable intertwining of subjects. Nevertheless, certain themes frequently appear in his work, including annotated vocabularies concerning flora and fauna and their use, topography, history and biography, kinship, cosmology (including tribal astronomy), religion and philosophy, names and observations concerning neighboring tribes, sex and age division, material culture, legends, and songs. The fullness of such materials seems to have been limited only by the time Harrington had to spend with a goup and the knowledge of his informants.

The papers document the life and work of William R. Hutton, a civil engineer during the late 1800s to the early 1900s. Materials include diaries, notebooks, correspondence, letterpress copy book, printed materials, publications, specifications, photographs, drawings, and maps that document the construction of several architectural and engineering projects during this period. Most notable are the records containing information related to the construction of the Chesapeake and Ohio Canal, Hudson River Tunnel, the Washington Aqueduct, the Kanawha River Canal, and the Washington/Harlem River Bridge. There are also several records about railroads in the state of Maryland, the District of Columbia and elsewhere, including the Western Maryland Railroad, Baltimore and Ohio Railroad, Colorado Midlands Railway, Baltimore and Drum Point Railroad, the Northern Adirondack Railroad, and the Pittsfield and Williamstown Railroad. The records can be used to track the progression of these projects, and engineering innovation during the late 1800s to the early 1900s.

The records of the Downtown Gallery date from 1824 to 1974 (bulk 1926-1969) and measure 109.56 linear feet. The records present a comprehensive portrait of a significant commercial gallery that operated as a successful business for more than forty years, representing major contemporary American artists and engendering appreciation for early American folk art. There is an unprocessed addition to this collection dating circa 1970 of a single financial/legal document.

The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

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 Technical Reference Files comprise an artificial collection that currently contains 1,900 cubic feet of aviation and space related materials, organized in 22 subject series. File materials include photographs, press releases, clippings, correspondence, reports, and brochures, on individuals, organizations, events, and objects.

The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.