This small collection of scattered papers of American writer John Weatherwax (1900-1984) dates from 1928 to 1988 (bulk 1931-1933), and measures 0.4 liner feet. The papers document Weatherwax's relationship with Mexican artists Frida Kahlo and Diego Rivera. In 1931, John Weatherwax approached Rivera to illustrate his English translation of the Mayan story of creation, the Popol Vuh. Rivera agreed and produced twenty-four watercolor illustrations for the text. The papers contain Weatherwax's translation, "Seven Times the Color of Fire", as well as manuscript versions of two short stories he wrote about Diego Rivera and Frida Kahlo entitled "The Queen of Montogomery Street" and "Diego". Also found within the collection are correspondence, manuscripts and notes, printed materials, and photographs.

The Emmy Lou Packard papers measure 9.4 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.

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 Ryah Ludins portfolio measures 0.1 linear feet and dates from circa 1920-1950. The porfolio contains photographs of murals by Ryah Ludins, which were mostly commissioned for government art projects in the 1930s.

The Murals of Aztlán Film Production Records measures 5.1 linear feet and consists of film footage, sound recordings, and notes from the documentary produced by James Tartan during the exhibition Murals of Aztlán: the Street Painters of East Los Angeles at the Craft and Folk Art Museum, Los Angeles in 1981. Film and sound elements in the collection include original sound recordings, work print, outtakes, and trims. Also found are production notes, museum memorandums concerning the exhibition schedule, and a transcript of a recorded conversation among muralists.

The papers of painter, muralist, and educator Emanuel Martinez measure 0.7 linear feet and date from 1964 to 2015. The collection is comprised of correspondence with Rodolfo "Corky" Gonzalez of the activist group Crusade for Justice; writings that include journal entries, essays about Mexican American youth, education, the artist Rini Templeton, community murals, and a presentation transcript about the sculpture Farm Workers' Altar; printed materials that include a bumper sticker and flyer designed by Martinez, photocopies of a poem and sketch by Martinez, and a book of writings on Mexican and Spanish Americans signed by George Garcia; photographs of Martinez as a child, in portraits, painting, and at events; and a scrapbook documenting the history of murals and Chicano art in Colorado through clippings and one letter of congratulations from former Representative Patricia Schroeder.

The Allen Tupper True and True family papers date from 1841 to 1987 and measure 8.2 linear feet. The collection presents a good overview of True's personal life and and his career as mural painter and illustrator specializing in Western themes.

The papers of New York painter and muralist George Biddle (1885-1973), measure 0.76 linear feet and date from circa 1910-1970. The collection includes a certificate signed by President Harry Truman, transcripts of Biddle's diaries, a manuscript of a memoir about meeting President Franklin Roosevelt, three letters from William Hunt Diederich's daughter, transcripts of letters from Bernard Berenson, sketches and mural studies, and two glass plate negatives.

The papers of New York artist, critic, historian, writer, art consultant and curator Walter Pach, measure 20.7 linear feet and date from 1857-1980. The collection documents Pach's promotion of modernism through his role in the landmark 1913 Armory Show, his relationships with artists and art-world figures and his extensive writings on art. Records include biographical material, correspondence with family, friends and colleagues including noted artists, handwritten and edited versions of manuscripts by Pach, diaries and journals, business records, printed material, scrapbooks, sketchbooks and artwork by Pach and others, and photographs of Pach and his family, friends, and colleagues. The collection also includes 12 linear feet of selections from Walter Pach's library.

The papers of artist Michele Zackheim measure 2.3 linear feet and date from 1976 to 2012, bulk 1980-2000. The collection documents her career in the visual arts through correspondence, interviews, writings, project files, teaching files, printed material, and photographic material.