The papers of Bernard Langlais measure 13.3 linear feet and date from circa 1925 to 2010. The papers document Langlais' career as a painter and sculptor through correspondence with friends, colleagues, and art institutions and organizations; writings; exhibition records, video recordings about Langlais, resumes, and other professional activity files; appraisals, invoices, inventories, and other personal business records; newspaper and magazine clippings, exhibition announcements and catalogs, and press releases; as well as scrapbooks, drawings, sketchbooks, and photographic material of Langlais and his artwork.

This record unit documents the administration of William Henry Holmes, first Curator of the National Gallery of Art (NGA), 1907-1920, and Director of the Gallery, 1920-1932. To a lesser extent, it also documents the administration of Ruel P. Tolman, Acting Director of NGA, 1932-1937, and the National Collection of Fine Arts (NCFA), 1937-1946, and …

The papers of technical artist, fabricator, and conservator Jack Brogan measure 4.25 linear feet and date from 1968 to 2016 with the bulk of the collection dating from 1971 to 2009. The collection documents Brogan's collaboration with many artists associated with Southern California Light and Space art to help realize their ideas. Papers include biographical material, project files, printed material, photographic material, and artwork. There is a 2.0 linear foot unprocessed addition to this collection donated in 2020 that includes files related to projects with Robert Irwin, Tony DeLap, Robert Therrien, Philip Aziz, Peter Alexander, Roy Lichtenstein, Lita Albuquerque and others. Some files relate to repairs to work by Lynda Benglis, Larry Bell, John McCracken, Hal Metzer. Several files relate to projects Brogan worked on for churches and synagogues, including First Baptiste Church, Pomona, California. Many contain multiple original drawings, sketches, and notes by artists. Material dates from 1973-2014.

This collection is comprised of photographic and manuscript materials, primarily created by Eliot Elisofon to document his travels and work. The images portray many aspects of African life and culture including agriculture, wildlife, archaeology, architecture, art and artisans, children, cityscapes and landscapes, leaders, markets, medicine, recreation, ritual and celebration, and transportation. The manuscript materials include correspondence, essays, clippings, puobligations, notes, research, and itineraries.

These records document primarily the history of typeface development at the Mergenthaler Linotype Company of Baltimore, Maryland. The company supplied most of the typesetting machines used in the printing industry, both in America and worldwide. As changing technology ended the usefulness of the linotype machine the company pioneered new computer-driven, photo typesetting machines.

The Diana Fuller papers and gallery records measure 67.9 linear feet and date from 1958 to 2004. The records shed light on the operations of Hansen-Fuller Gallery, Hansen-Fuller-Goldeen Gallery, Fuller-Goldeen Gallery, and Fuller-Gross Gallery through administrative files, correspondence files, artists' files, dealer and institution files, exhibition and event files, financial records, printed materials, photographic materials, as well as some audiovisual and born digital materials. Diana Fuller's papers concern her work with the Bay Area Consortium for the Visual Arts, her book, Art/Women/California, 1950-2000: Parallels and Intersections (2002), and include scattered project files, photographic materials, and more. Also present are correspondence files, artists' files, exhibition material, and financial records generated by Arts Unlimited and Hansen Galleries.

The Matthew Williams Stirling and Marion Stirling Pugh papers, 1876-2004 (bulk 1921-1975), document the professional and personal lives of Matthew Stirling, Smithsonian archaeologist and Chief of the Bureau of American Ethnology (1928-1957), and his wife and constant collaborator, Marion Stirling Pugh. The bulk of the material is professional in nature and includes material from Matthew's early career in the 1920s, the careers of Matthew and Marion together from when they married in 1933 to Matthew's death in 1975, and Marion's life and work from 1975 until her death in 2001. The majority of the documentation relates to the investigation of the Olmec culture in Mexico by the Stirlings, including the discoveries of eight colossal Olmec heads. In addition, the collection documents their work in Panama, Ecuador, and Costa Rica, looking for connections between Mesoamerica and South America. Materials include field notes, journals, correspondence, photographs, writings, clippings, ephemera, articles, and scrapbooks.

The Avis Berman research material on Juliana Force, inaugural director of the Whitney Museum of American Art, measures 11.8 linear feet and dates from 1857 to circa 2010. The collection is comprised of Berman's research and writing files in preparation for her book, Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art, published in 1990. Included are manuscript drafts, correspondence, photographs, photocopies of archival material, notes, printed material, and theirty-seven recordings of interviews with numerous artists, as well as a few unidentified recordings. Berman's manuscript is also contained in digital format on twenty-three electronic disks. Research topics include Gertrude Vanderbilt Whitney, the Whitney Museum, Whitney Studio Galleries and Club, MacDougal Alley, Force and the Rieser family, and historical events of the early 1900s.

The papers of sculptor and environmental artist Aleksandra Kasuba measure 12.4 linear feet and date from circa 1900-2019, with the bulk of the material from 1960-2010. The collection documents Kasuba's career through biographical material, correspondence, interviews, lectures and writings, extensive project files, printed material, a scrapbook, artwork, and photographs.

The papers and gallery records of fiber artist Jane Sauer measure 16.1 linear feet and date from 1898 to 2013. The papers document her career as a fiber artist through awards, family histories, and other biographical material; correspondences with family, friends, and art colleagues; journals, notebooks, and other writings; workshops, committee work, exhibitions, consignments, and other professional activity; artist files; sketchbooks and other artwork; personal photographs and slides, photographs of artwork, and photographs of exhibitions; and administrative files, artist files, and exhibition materials of the Jane Sauer Gallery.