The papers of artist Ellen Lanyon measure 62.6 linear feet and date from circa 1880-2014, bulk 1926-2013. Biographical material; correspondence; interviews; writings; journals; project files; teaching files; exhibition files; personal business records; printed and broadcast material; scrapbooks; photographic material; artwork; sketchbooks; as well as sound and video recordings and electronic records, provide a comprehensive view of Lanyon's career and of art circles in Chicago and New York. Correspondence with artists and friends make up a significant portion of the collection. Project and exhibition files reflect her professional and artistic career. Thousands of slides and photographs document her life and artwork over seven decades, and over seventy sketchbooks are filled with student sketches, portraits of friends and family, and preliminary drawings.

The records of the B. C. Holland Gallery measure 2.1 linear feet and date from 1942-1991 (bulk dates 1959-1965). Founded in Chicago, Illinois by Bud C. Holland and Noah Goldowsky, the collection documents over 98 artists associated with the gallery. Documentation includes invoices, correspondence between artists and gallery owners, price lists, exhibition catalogs and print materials, magazine and newspaper clippings, photographs, and slides, and some business records of the gallery.

The records of the Allan Frumkin Gallery, a Chicago and New York City gallery, measure 25.6 linear feet and date from 1944-2016 with one letter pertaining to artwork documentation dating from 1880. The collection documents the gallery's activities through administrative files, dealer and client correspondence, artist files, financial records, gallery newsletters, printed material, and photographic material. Artist files represent over one-third of the collection and provide insight into the close relationship between Frumkin and many of the gallery's major artists including Robert Arneson, Luis Cruz Azaceta, Jack Beal, Joan Brown, Colin Lanceley, Maryan, Roberto Matta, Philip Pearlstein, Peter Saul, H.C. Westermann, and William T. Wiley. Also included in the collection are the Frumkin Family papers, consisting of writings by Allan and wife Jean Martin Frumkin, editorial copy of Art Book Review, personal papers, and material relating to the Frumkin personal art collection and estate.

The records of Printed Matter, Inc., a non-profit artists' book publisher and distributor in New York, measure 24.9 linear feet and date from 1970 to 1990. Documentation on this organization includes artist, distributor, and client files; inventory records; legal and administrative records; general correspondence; ledgers, invoices, and other financial records; files arranged by subject; and architectural drawings of the interior office space. The administrative correspondence scattered across the various series shows Printed Matter's philosophy, operations, and relationships to artists. Many early notes and minutes are in Sol LeWitt's handwriting. Among the names to be found in the files are former staff members Edith deAk, Mike Glier, Nancy Linn, Ingrid Sischy, and Nancy Princenthal; founders Sol LeWitt and Lucy Lippard; and contracted artists, such as Douglas Davis, Heidi Fasnacht, Jenny Holzer, Douglas Huebler, Louise Lawler, Richard Nonas, Martha Rosler, Ed Ruscha, Art Spiegelman, Michelle Stuart, Athena Tacha, and Lawrence Weiner.

The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Record unit 7308 contains biographical materials assembled by the American Ornithologists' Union (AOU). A portion of these materials were transferred to the Smithsonian Archives in 1974 and 1975 as part of the main body of AOU records. The AOU has named the Smithsonian Archives as repository for its official records. In 1983, the Archives ...

The records of the Fendrick Gallery measure 106.4 linear feet and span the years 1952 to 2001. The bulk of the collection is comprised of artist's files that document the gallery's relations with and representation of over 300 contemporary artists and sculptors, including Robert Arneson, William Bailey, Daniel Brush, Wendell Castle, Robert Cottingham, James Drake, John Dreyfuss, Walter Dusenbury, Roger Essley, Helen Frankenthaler , Sam Gilliam, Jasper Johns, Raymond Kaskey, Claude and Francois Lalanne, Albert Paley, Joseph Raffael, Carol Summer, and numerous other artists. Also found are subject, exhibition, commission, administrative, and financial files, as well as files documenting the gallery's relationship with other museums and galleries.

The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.

The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

This accession consists of exhibition records produced by the Office of Public Affairs, National Museum of American Art (NMAA). These records include outgoing and incoming correspondence of Margery Byers, former Chief of the office of Public Affairs, from 1977 to 1989; NMAA exhibition publications, brochures, and posters; lists of exhibition ...