This small collection measures 0.2 linear feet and comprises 13 letters written by renowned Hudson River School landscape painter Albert Bierstadt between 1860 and 1900. The majority of the letters were penned in the last two decades of his life and discuss his painting, the inspiration he found in nature, his studio, and concerns relating to commissions and finances.

The papers of abstract expressionist painter Maud Cabot Morgan measure 0.2 linear feet and date from 1938-circa 1994. The papers include biographical material, letters, printed material, and a video recording. Biographical material consists of a resume for Maud Cabot Morgan. There are two letters (photocopies) that concern Morgan's honorary Doctor of Fine Arts degree from the Massachusetts College of Art. Printed material consists of clippings, exhibition announcements, and catalogs. One videocassette includes footage for 1986 Museum School Show, the 1994 exhibition "90 in the 90s," and an interview conducted by Gail Harris.

The papers of Ohio painter, lithographer, and educator Henry G. Keller date from circa 1880-1962 and measure 1.3 linear feet. Found are biographical materials, professional and personal correspondence, writings and notes, personal business records, printed material, photographs, and artworks and artifacts.

The papers of painter and theatrical set designer Eugene Berman date from 1926-1975 and measure 6.7 linear feet. Found within the papers are scattered letters, primarily postcards, from various colleagues including Juliet and Man Ray and Berman's brother Leonid. There are also notes, scattered artwork, printed material, and extensive photographs, many of Mexico.

The papers of landscape painter Worthington Whittredge measure 2.2 linear feet and date from the 1840s to 1965, with the bulk of the papers dating from 1849 to 1908. This small collection documents Whittredge's career as a painter, particularly his years in Europe from 1849 to 1859, through biographical materials, a manuscript of his autobiography, news clippings, catalogs, six sketchbooks and numerous drawings and paintings. Also found are two photographs of Whittredge and a nineteenth-century photo album containing photographs of 32 famous artists.

The papers of collage artist Ilse Getz measure 3.4 linear feet and date from 1928 through 1999, with the bulk of the papers dating from circa 1947-circa 1990. Her personal life is reflected through biographical material including a genealogy of the Bechhold family; marriage and death certificates; and writings that include journals, artist statement, poems and notes. The collection contains letters from friends, artists, collectors, and museum and art gallery representatives; exhibition files; and printed material relating to Getz's exhibitions. Also found are photographs, slides and transparencies of artwork.

The papers of painter, printmaker, and art teacher Josef Albers date from 1929 to 1970 and measure 1.5 linear feet. Found within the papers are biographical materials, writings, a recorded lecture, and photographs. The bulk of the collection consists of printed materials.

The papers of Edward Gay and the Gay family measure 2.6 linear feet and date from 1852 to 1983. Found within the papers are biographical materials on Edward and Duncan Gay; personal correspondence from Edward Gay, his wife Martha Feary Gay, and other family members; artwork by Edward and Duncan Gay; writings; printed materials; and photographs of Edward and Duncan Gay, their family, and their work.

The papers of medical doctor F.W. Sargent measure 0.4 linear feet and date from 1854 to 1960. Found within the papers are letters to his family with references to his son, John Singer Sargent. Also included are letters and photographs of works of art by John Singer Sargent.

The papers of New York City and Berlin, Germany based multi-media and conceptual artist Matt Mullican measure 27.8 linear feet and date from circa 1968-2017. The collection consists of biographical material, including a few interview transcripts; correspondence; over 100 notebooks; gallery and exhibition files; project and commission files; personal business records; printed material; and photographs. The notebooks document nearly five decades of Mullican's work process and illustrate his material and conceptual explorations. Large sequences of gallery and exhibition files, as well as project and commission files comprise the remaining bulk of the collection, providing detailed documentation of his professional career, particularly from the 1980s-2000s.