The Ramón Carulla papers contain letters, photographs, printed material, an interview, sketchbooks, and artwork documenting the career of Cuban American painter Ramón Carulla.

The papers of painter, sculptor, and educator Octavio Medellin measure 3.6 linear feet and date from circa 1935 to circa 1979. The collection is comprised of correspondence with Carlos Mérida, Stanley Marcus, Lucy Maverick, Bess Hubbard, Xavier Gonzalez, and others; commission files for projects in Texas; professional files that include notes, biographical essays, and material for the Medellin School of Sculpture, Mendocino Art Center, International Institute of Arts and Letters, and the San Antonio Religious Show; printed and documentary materials consisting of an art reproduction, booklets, exhibition catalogs, magazines and yearbooks, and video recordings of Swank in the Arts; and photographic materials of Medellin, his studio, family and friends, travel in Mexico, his students, and works of art.

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.

An interview of Katharine Kuh conducted 1982 Mar. 18-1983 Mar. 24, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.

The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.

The papers of artists and educators Stefan Hirsch and Elsa Rogo measure 19.6 linear feet and date from 1851 to 1986, with the bulk of the material dating from 1920s to the 1960s. Their artistic, teaching, and journalism careers are documented through biographical materials, correspondence, writings and notes, professional files, printed materials, photographs and motion picture films, and sketchbooks and other artwork.

The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. The collection documents Kuh's career as a pioneer modernist art historian and as the first woman curator of European Art and Sculpture at the Art Institute of Chicago. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.

The papers of painter, collector, and writer John Graham measure 11.2 linear feet and date from 1799 to 1988, with the bulk of materials dating from 1890 to 1961. Papers document the life of John Graham, born Ivan Dombrowsky, through personal documents related to military service and family history, passports, artifacts, correspondence, appointment books, financial records, inventories, wills, extensive writings and notes, books, clippings, exhibition catalogs, photographs of Graham and his family and friends, and artwork created and collected by Graham.

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.

The major part of the collection, series 1-4, contains nearly 28,000 glass plates, including original stereoscopic negatives, interpositives, and both negative and positive non-stereoscopic plates used to produce lantern slides and paper prints. The photographs were taken all over the world. The majority are from the Underwood & Underwood active fi...