The papers of sculptor Bessie Potter Vonnoh measure 0.8 linear feet and date from circa 1860 to 1991, with the bulk of material dating from 1890 to 1955. The scattered papers document the personal life and career of Bessie Potter Vonnoh, and, to a lesser degree, her husband, painter Robert William Vonnoh. Found within the papers are Vonnoh family correspondence, including letters between Bessie and Robert, and professional and personal correspondence, primarily Bessie's. The collection also contains scattered biographical materials, photographs of the Vonnohs, a photograph album, photographs of artwork, clippings, exhibition catalogs, and other printed material.

F.C. Brown was a physicist and inventor who created and supervised the development of education exhibits, most notably as organizing director of the New York Museum of Science and Industry (part of the Museums of the Peaceful Arts), 1926-1931. He was also curator of physics exhibits at Chicago's Museum of Science and Industry, 1932-1937. Much of Brown's scientific research focused on the element selenium. He invented the phonopticon, an improvement on the optophone (invented by Fournier d'Albe, 1912). Material focuses on Dr. Brown's professional life: correspondence, photographs, photo albums, scrapbooks, and ephemera from the positions he held and research he conducted. Very little personal information is included.

The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790-2007, with the bulk of the papers dating from 1900 to 1956. The collection contains biographical material, correspondence, personal business records, forty-eight diaries of John Storrs, a few diaries of other family members, additional writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. Correspondence includes that of John Storrs, Marguerite Storrs, and the Storrs family.

The papers of painter, photographer and sculptor Lowell Nesbitt measure 50.2 linear feet and 0.001 GB and date from circa 1903-1993 (bulk 1950-1993). The collection documents Nesbitt's career through biographical material, correspondence, subject files, business and financial records, source material, artwork, photographs and audiovisual records, printed material and scrapbooks.

The modern and contemporary art gallery records of the Susan Conway Gallery in Washington, D.C. measure 23.9 linear feet and 0.001 GB and date from circa 1928, circa 1940s-2003, with the bulk of the material dating from 1987-2003. Nearly half of the collection documents the gallery's work as the sole representative of artist and political cartoonist Pat Oliphant through administrative records, exhibition files, press clippings, and a handful of photographs. Also found in the collection are artists' files of other artists represented by the gallery, client files, administrative records, printed and digital materials, and the records of the Susan Conway Conservation Studio.

The John F. Turner collection of research material on visionary self-taught artist Howard Finster measures 6.9 linear feet and dates from circa 1928 to 2015, with the bulk of the materials dating from 1978 to 1990. John Turner is a California-based curator who compiled this collection in preparation for his book Howard Finster: Man of Visions (1989). Found within the collection are correspondence; numerous interviews with Finster and Finster family members, curators and historians, collectors, and artists; draft manuscripts and research notes; compiled research files on other topics; printed materials and commercial broadcast video recordings; and photographic material, including polaroids annotated by Finster. There is also one series of Howard Finster's papers that include writings by Finster, sound and video recordings of Finster exhibitions and talks by Finster related to those exhibitions, recordings of other speaking engagements, sermons, and other events, a scattering of personal business records that includes a ledger and price list of artwork, and artwork.

The Labat: A Creole Legacy project records, which dates from 2001 to 2004 and measure 1.31 linear feet, contain materials documenting the creation of artist Lori K. Gordon's quilt, titled "Labat: a Creole Legacy," and the life of Celestine Labat. The collection is composed of audiocassettes, videocassettes, floppy disks, CDs, transcripts, newspaper clippings, writings, notes, correspondence, notecards, and postcards.

Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age. This series covers the moon, stars, comets, and meteors. For music relating to the sun, see Series 14: Calendar, Time, and Weather. An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music.

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 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.