The scattered records of the ACA (American Contemporary Art) Galleries date from 1917 through 1963 and include writings by founder Herman Baron, artists Philip Evergood and Anton Refregier, and art critic Elizabeth McCausland; printed materials; and photographs of Baron, ACA artists, art collectors, works of art, and exhibitions. Correspondence is with David Burliuk, Philip Evergood, William Gropper, Lewis Mumford, Moses Sawyer, Max Weber, and others. Also found is a small group of Herman Baron's personal papers.

The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, printed material, 5 scrapbooks and photographs.

The papers of painter, printmaker, performance artist, and teacher Roger Shimomura measure 2.6 linear feet and date from 1965 to 1990. Found within the papers are biographical materials, correspondence, writings, notes, printed material, one scrapbook, and photographs.

This accession consists of records that document exhibition activities of the office for the National Museum of American Art and the Renwick Gallery. Materials include correspondence, memoranda, condition reports, checklists, insurance records, shipping invoices, lender files, and budget records.

The papers of American portrait painter William Cushing Loring (1897-1959) measure 0.7 linear feet and date from 1899-1961. The majority of the collection consists of correspondence, including letters which document Loring's artistic education in Paris and London 1900-1904. Also found within the collection are letters from other Loring family members, printed materials which document Loring's artistic career, and photographs of the artist and his work.

This accession consists of records documenting the exhibition and program coordinating activities of the Office of Curatorial Affairs, primarily in regard to the preservation of the Star-Spangled Banner and the planning, development, and production of the exhibition "The Star-Spangled Banner: The Flag that Inspired the National Anthem" at the ...

Linen covered family album of dark-brown album stock with 24 page and 101 photographic images ranging from small silver gelatin to large toned albumen ones. There are also several postcards and a pencil-drawing showing the owner on the last page. The album was compiled by the German merchant Paul Schaff, who lived and worked in German East-Africa (now Tanzania) in the years between c. 1904-1915. According to an entry in the album, he was awarded the Iron Cross 1st class for serving as a machine gun gunner under the command of General Lettow-Vorbeck in WWI in East-Africa, when the British fought the Germans and ultimately took over the region. According to a caption and a picture in the album, Schaff returned to Germany in 1919. The captions of the images give several locations in Tanzania, typical for the travels of somebody who worked in the colony. There is a caption under a postcard of a street in Dar es Salaam stating "Daressalam, my old domicile." Other photographs show Schaff in Tanga (1904), in Bukoba (1909), and in Kifumbiro as a soldier (1915). The photographs reflect various subjects to include landscapes (Lake Victoria), towns (Dar es Salaam) personal experiences (such as a Christmas celebration), and Africans. Among the latter are stunning high quality depictions of the Luo, here referred to by the German ethnological term Wagaia, and Maasai with an emphasis on dress and adornment. Another set of pictures shows life in a German military post. There are a few, large albumen prints towards the end of the album, which seem to depict German South-West Africa --judging by the dress of women in two images. These photographs might have been presents. Perhaps the owner of the album took a trip to that colony. Inscribed on the album cover are the words, "Zur Erinnerung an Deutsch-Ost-Afrika" [In memory of German East Africa] and a Maasai shield drawn in china ink and colors in the lower corner of the cover. On one of the last pages, there is the halftone color print of a bugle playing Askari, captioned "Deutsche vergesst nicht Eure Kolonien" [Germans do not forget your colonies]. The pencil portrait of the owner on the last page concludes the story line.

The collection of artists' letters compiled by Mary and John McGuigan Jr. measure 0.6 linear feet and date from 1794-1938. The collection is comprised of a group of letters, writings, and signed documents to and from a variety of artists, art administrators, art critics, historians, and art-related organizations assembled from multiple sources. It also includes associated printed material with some documents and a few photographs, including carte de visites and cabinet cards.

The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The collection consists of copied biographical papers, recordings, correspondence, and printed material related to O'Keeffe, and 97 recorded interviews related to the life of Louise Nevelson. The outcome of Lisle's research on O'Keeffe resulted in her book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980); and on Nevelson, Lisle authored, Louise Nevelson: A Passionate Life (1990).

Photographs assembled by Major Leon Roget, 1858-1909, in 1886 and 1888 in Boma, Congo Free State. Major Roget had organized the first companies of Force publique and had become its first commander (1886-1888). Most of the images are described in captions written on separate sheets by Rene J. Cornet, author of "La Bataille du Rail." Some images show the building of the railroad of the lower Congo (Matadi-Kinshasa), Katanga, and relate to the Belgian occupation and geological exploration of the Southeastern province and Maniema of the Belgian Congo by his father, Jules Cornet, 1865-1929. The majority of the images show architecture and colonial life in Boma and Matadi. They include a balloon ascent in 1889, a group of African men and women, African troops and African women with scarification. The most remarkable photographs include a picture of a Kongo burial ground, a studio photograph of a "horizontale" in Sierre Leone and a portrait of Makoleka, a "feticheur," who was executed for murder.