The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.

The Helen Peterson collection includes correspondence, notes, miscellaneous administrative documents, financial records, calendars, questionnaires, notes from interviews, survey forms, copies of resolutions, proceedings, speeches, programs, press releases, printed and processed material, and many other types of documents. Mainly these relate to Petersons's career and special interests between 1953 and 1970. There are also a few documents that concern the organizations which Peterson served for periods preceding or following her periods in office. Of special interest are the materials related to the NCAI, many of which supplement the records in that organization's files. The collection also includes documents that concern a wide range of Indian interests and activities.

Papers relating to the career of the nuclear physicist Emilio Segre, including a set of previously classified, now unclassified government documents including correspondence, laboratory reports and memoranda, relating to Segre's research; several diplomas and honorary awards and the programs from the ceremonies at which they were conferred.

The papers of African American artist and educator Jeff Donaldson measure 12.5 linear feet and date from 1918 to 2005, with the bulk of the records dating from the 1960s to 2005. The collection documents Donaldson's work as a professional artist, his academic career at Howard University, and his leadership role in the Black Arts Movement through biographical material, a small amount of professional and personal correspondence, personal business records, writings by Donaldson and others, research files, artist files, sound recordings of interviews Donaldson conducted with over 40 artists, teaching files, exhibition files, printed material, and photographs. Also found are detailed records of his professional activities and leadership roles in AfriCOBRA, CONFABA, FESTAC, and the Organization of Black American Culture (OBAC), including documentation on the Wall of Respect mural.

The Smithsonian Institution Archives began its Oral History Program in 1973. The purpose of the program is to supplement the written documentation of the Archives' record and manuscript collections with an Oral History Collection, focusing on the history of the Institution, research by its scholars, and contributions of its staff. Program ...

The collection consists of photographs collected by the Albertype Company for their postcards and viewbooks, including portraits, scenery, camps, American Indian schools, and some paintings and composites for postcard printing. Additional subjects include rock drawings in Maine; a statue in Kansas City, Missouri; Standing Rock Monument in North Dak...

This refence collection was assembled to assist in writing a biography of the Reverend Mr. Charles E. Coughlin. The collection contains books, booklets, published sermons, published lectures, pamphlets and other printed materials. Of these, 57 were written by Coughlin. The remainder of the materials relate to him directly or have chapters or passa...

Ray Brown was an African-American musician, composer, bandleader, manager, music teacher and promoter. He became best known for his collaborative work with Dizzy Gillespie, Oscar Peterson, Ella Fitzgerald, the Oscar Peterson Trio and Norman Granz' s Jazz at the Philharmonic. Over the course of his career, Brown received awards and accolades from the National Academy of Recording Arts and Sciences, the National Endowment for the Arts, the Jazz Hall of Fame, Down Beat and Playboy. Brown's papers document his professional music career from 1944 to 2002 and include music compositions and notes, publicity materials, photographs and some recordings of his performances.

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

To a considerable degree, the James H. Howard papers consist of manuscript copies of articles, book, speeches, and reviews that document his professional work in anthropology, ethnology, ethnohistory, archeology, linguistics, musicology, and folklore between 1950 and 1982. Among these are a few unpublished items. Notes are relatively scant, there being somewhat appreciable materials for the Chippewa, Choctaw, Creek, Dakota, Omaha, Ponca, Seminole, and Shawnee. The chief field materials represented in the collection are sound recordings and photographs, but many of the latter are yet to be unidentified. A series of color photographs of Indian artifacts in folders are mostly identified and represent the extensive American Indian Cultural collection of costumes and artifacts that Howard acquired and created. Other documents include copies of papers and other research materials of colleagues. There is very little original material related to archeological work in the collection and that which is present concerns contract work for the Lone State Steel Company.