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.

The records of Milch Gallery measure 42.5 linear feet and date from 1911-1995. Edward Milch (1865-1953) opened the Edward Milch Gallery in New York City. In 1916, he formed a partnership with his brother Albert Milch (1881-1951), a gilder and framer, creating E. & A. Milch, Inc., a gallery specializing in American art. Harold C. Milch (1904-1981), Albert's son, was appointed a partner in 1944 and continued the business until his death. Business records of Milch Gallery, 1911-1968, include correspondence, sales records, inventories, financial records, printed matter, photographs, and legal documents. Later additions to the records date from 1922-1995 and include correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.

Correspondence, advertisements, accounting records, and 19 audio tape interviews documenting the history and operation of Melrose Diner in Philadelphia, Pa.; interviews conducted by oral historian Scott Ellsworth, 1987; and notes written by him.

Correspondence with artists kept by Russell Lynes in his capacity as managing editor of Harper's Magazine, measures one linear foot and dates from 1946 to 1965. The files consist primarily of correspondence with young artists and illustrators wishing to submit material to the magazine. Biographical notes from the magazine's "Personal and Otherwise" column about the artists whose material was accepted, clippings, scattered original artwork, and printed reproductions of artwork, are also included.

This collection consists of publications issued by the Jet Propulsion Laboratory documenting JPL's work in jet and rocket propulsion, launch vehicle development, and planetary reconnaissance. Most of the material relates to work performed under NASA auspices, but significant material from Army- and Air Force-related research is also included.

The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

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.

The papers of Chicago and Santa Fe painter, muralist, architect, and furniture designer William Penhallow Henderson measure 10.5 linear feet and date from 1876 to 1987 (bulk dates 1876 to 1943). Found within the papers are scattered biographical material; correspondence with friends and colleagues; three diaries; personal business records; two files concerning the Santa Fe Painters and Sculptors and the Art in Embassies Program; architecture, furniture, and other design project files; exhibition files; notes and writings; artwork, including 64 sketchbooks by Henderson and others; miscellaneous printed material; and photographs of Henderson, his family and colleagues.

These papers document Preble's personal life and careers with the Bureau of Biological Survey and the American Nature Association, and include general correspondence, primarily incoming; published and unpublished manuscripts for scientific and conservation work; addresses and reports by others; field notebooks, diaries, lists and checklists ...

The papers of sculptor Hiram Powers measure 12.4 linear feet and date from 1819 to 1953, with the bulk of the material dating from 1835 to 1883. Over two-thirds of the collection consists of Powers' correspondence with business associates, purchasers of his artwork, and numerous friends in the United States and Florence, Italy. Of note is Powers' "Studio Memorandum," from 1841 to 1845, which contains dated notations of letters written, receipts and expenditures, business contacts, works in progress, commissions and price quotations for work, comments on problems encountered during studio work, and other notes. Additional papers include scattered biographical material, financial and legal records, printed materials, photographs of Powers, his family, artwork, as well as an extensive collection of carte de visite and cabinet card portraits of many notable figures. Also found is a small amount of artwork by Powers and others, a scrapbook, and two autograph and memorabilia albums.