This finding aid was digitized with funds generously provided by the Smithsonian Institution Women's Committee.

This accession includes records documenting the production of the Archives of American Art Journal (Volumes 24-26). Materials include Editor's records such as correspondence, publications, notes, grant proposals, agreements, budget summaries, photographs, and reports. Also included in this accession are records which document the administrati...

Ella Fitzgerald, often called the "First Lady of Song," was one of the 20th century's most important musical performers. The collection reflects her career and personal life through photographs, audio recordings, and manuscript materials.

The records of Vose Galleries of Boston measure 25.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Dairy forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

This finding aid was digitized with funds generously provided by the Smithsonian Institution Women's Committee.

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.

This collection contains a variety of materials documenting the lives and careers of scientists from a wide range of fields, including mammalogy, ornithology, ichthyology, herpetology, botany, entomology, paleontology and geology. Also included are files on conservationists, taxidermists, historical figures, explorers, frontiersmen, and hunter...

The collection documents Gabler's involvement in the recording industry and the evolution of Commodore Records. The documentation begins with the Commodore Radio Shop through its evolution to Commodore Music Shop. The collection also includes the beginnings of the Commodore record label and information detailing Gabler's 30 years as staff producer and later Vice-President in Charge of Artists and Repertoire at Decca Records (1941-1974). There is a small collection of black and white photographs chronicling the early years at the Commodore Music Shop, as well as jam sessions, often held at Jimmy Ryan's on 52nd Street. The collection also includes a vast array of audio recordings (mainly audiodiscs).

The papers of African American conceptual and performance artist Senga Nengudi measure 12.8 linear feet and 11.24 gigabytes and date from circa 1962 to 2017, with a folder of printed material dating from 1947. The collection contains biographical material including education and family records, the kimono Nengudi wore during her wedding to Ellioutt Fittz, certificates, interview transcripts, and address books; calendars and journals chronicling Nengudi's appointments, thoughts, and artistic practice; and correspondence with friends and other artists including Maren Hassinger, Cheryl Banks, and David Hammons. Also included is family correspondence, including letters between Senga Nengudi (then Sue Irons) and her mother when Nengudi was living in Japan. The collection also contains writings by Senga Nengudi and others; material related to professional activities including teaching files, gallery files, and files related to exhibitions, projects, and performances; printed material including exhibition and event announcements and catalogs, clippings, magazines, and other published material; a scrapbook primarily containing photographs and printed material; photographic material depicting Senga Nengudi, works of art, and other individuals; artwork by Nengudi and others, including Maren Hassinger; and audio and video recordings, including recordings of performances.