The Francis Davis Millet and Millet family papers measure 3.3 linear feet and are dated 1858-1984, with a few scattered early eighteenth-century items, such as legal documents and printed matter. The bulk of the materials dates from 1858 to 1955. Found are biographical materials, diaries/journals, family letters, notes and writings, art work, printed matter, miscellaneous records, and photographs documenting Millet's wide-ranging artistic and writing career and personal life, including his death aboard the Titanic. Also of interest are approximately twenty ink caricatures attributed to John Singer Sargent.

The Domenico Facci papers are dated 1914 to 1995, with the bulk falling between the years 1950 and 1984. They measure 1.2 linear feet and consist of biographical material, correspondence, artwork relating to sculpture projects, printed material, and photographs. Among the well-documented aspects of Facci's professional career are: his leadership roles in several arts organizations based in New York City, including Audubon Artists, National Sculpture Society, and Artists Equity Association; his work on the United States Treasury's 1988 Olympic Games commemorative coin competition, Brooklyn Bridge 100th Anniversary reliefs, Endangered Species Medal, and Neptune Fountain at Busch Gardens in Williamsburg, VA.

The scattered papers of federal arts administrator John DeWitt date from 1962-1979, and measure 1.4 linear feet. The collection primarily documents 1970s arts programs sponsored by the U.S. Bureau of Reclamation, an agency of the Department of the Interior. Found within the papers are correspondence concerning the department's art projects and exhibition files for The American Artist and Water Reclamation, 1972, and America 1976.

The papers of New York sculptor Robert White measure 8.4 linear feet and 0.846 GB and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed and digital material; audiovisual material; artifacts; and photographs.

This interview of sculptor Paul Manship was conducted by the Columbia University Oral History Research Office, New York City, in 1956 and is 70 pages long. Manship recalls his family background and growing up in Jackson, Mississippi; his early art education; working as a studio assistant for Solon Borglum and later Isidore Konti; studying animal anatomy with Borglum; his trip to Spain with Hunt Diederich; his three-year fellowship at Pierpont Morgan Memorial, commissioned works such as the Bronx Zoological Garden gates, Pail J. Rainey Memorial Gateway; collaborations with architects; his friendship with John Singer Sargent; Manship's studio in Paris; the New York World's Fair, 1939; and exhibitions of his sculpture. There are two copies of the interview in the folder.

An interview of Glen Michaels conducted 1981 July 1, by Mary Chris Rospond, for the Archives of American Art.

The papers of Claudia DeMonte and Ed McGowin measure 7.2 linear feet and date between 1960 and 2018. The papers primarily document Claudia DeMonte's career as a painter, and to a lesser extent her husband's career, through correspondence with family, friends, colleagues, and art institutions; notebooks, poetry, and other writings; scrapbooks; curriculum vitas, awards and certificates, commissions, and other professional activity; exhibition announcements and catalogs, newspaper clippings, magazine articles, and other printed material; sketchbooks and other artwork; personal photographs, portraits, of artwork, and other photographic material.

Files related to Washington, D.C. art activities; photographs; scrapbook; and guestbook.

An interview with Juan Sánchez conducted 2018 October 1-2, by Josh T. Franco, for the Archives of American Art, at Sánchez studio, in Brooklyn, New York.

The papers of artist and educator Don Reitz measure 11.6 linear feet and date from circa 1935 to 2015. The collection documents Reitz's work as a professional artist and educator through biographical material, correspondence; writings, interviews and lectures; documentation on workshops and performances; studio records; gallery and exhibition files; printed material, photographic material, and artwork.