The records of Los Angeles Art Space gallery measure 13 linear feet and date from 1971 to 1992. The majority of the collection consists of the gallery's exhibition files which contain correspondence, clippings, exhibition catalogs and announcements, slides, photos, invoices, price lists, loan records, and other materials. There is also correspondence with artists and organizations, financial and administrative records, and slides of artwork and exhibitions.

This accession consists of records created and maintained by Debra Diamond, Curator of South and Southeast Asian Art, 2000- , documenting the development of exhibitions. Documented exhibitions include "Muraqqa': Imperial Mughal Albums from the Chester Beatty Library, Dublin;" "Himalayas: An Aesthetic Adventure;" "Tibetan Healing Mandala for ...

The papers of Parisian art dealer, René Gimpel (1881-1945), dating from circa 1890-1966 (bulk 1902-1930s), and measuring 0.4 linear feet, provide a small but significant window into the crucial relationship between American collectors and the art dealers who supplied them, as they amassed some of the most influential art collections of the first half of the twentieth century. Gimpel's work as an art dealer is documented through correspondence with his parents, clients, business associates, and collectors, including Helen Frick and Duveen Brothers, Blake-More Godwin and the Toledo Museum of Art, Florence Libbey, Samuel H. Kress, Silva White, and others, and through printed material, writings by Gimpel, and photographs of René and Ernest Gimpel and others.

The records of Detroit's J.L. Hudson Gallery measure 2.8 linear feet and date from 1958 to 1973. The collection comprises administrative records consisting of card files, early gallery records, and a few other administrative files; correspondence with artists and galleries; artist files for Romare Bearden, Childe Hassam, Isamu Noguchi, and others; exhibition files for the gallery's first exhibition, The W.R. Valentiner Memorial Exhibition (1963-1964), and several other exhibitions held at the gallery; client files documenting business transactions with numerous organizations, galleries, and art schools; and printed materials consisting of exhibition catalogs, announcements, and posters for J.L. Hudson Gallery and other galleries.

An interview of Wendell Castle, conducted 1981 June 3-December 12, by Robert F. Brown, in Scotsville, New York, for the Archives of American Art.

Two cyphering books belonging to and/or compiled by Joel Ryder (or Rider) of either New York or New Jersey, containing mathematical tables, square roots, computations, etc. One book bears the date 1792, the other 1793. Both soft-bound in cloth. One contains a number of locks of hair.

Contents: I. Explicacion de la Doctrina Christiana (Kekchi and Spanish in parallel columns) Traduccion del Espanol al Quecchi", por Dn. Tomas Riveiro Coban, Republica de Guatemala.- 127 pages. II. Kekchi Calendar of Lucky and Unlucky Days, from Lanquin. 13 pages. III. Ortografia en Kekchi, por Jose Domingo Coy (1870). 9 pages. IV. Manuscrito en Len...

An interview of Eleanor M. Garvey conducted 1997 February 28-June 13, by Robert F. Brown, for the Archives of American Art in Garvey's office, Houghton Library, Harvard University, Cambridge, Massachusetts.

The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.71 linear feet comprised of 232 letters, portrait prints, and other documents signed by American artists. There is a .01 linear foot (6 items) unprocessed addition to this collection donated in 2021 that includes a letter from Winslow Homer to Mr. Clarke, November 28, 1892; typed and annotated lists of autographs of artists in the collections of Charles Henry Hart; handwritten note about English painter and engraver, John Keyse Sherwin, undated; handwritten note regarding Gennearino Persico, miniature artist, July 18, 1826.

The sound recordings of the Addison Gallery of American Art measure 0.4 linear feet and date from 1970 to 1991. The recordings document the early history of the gallery. Materials include an untranscribed monologue by Charles Sawyer, first director of the Addison Gallery, on the development of the Gallery collection (1 5 in. reel); untranscribed interviews of Sawyer, conducted by Jock Reynolds, May 24, 1990 and June 7, 1991 (3 cassettes); Marion Faller, conducted by Reynolds, March 9, 1990, regarding work by her husband, photographer Hollis Frampton (1 cassette); and Clare Hayes, wife of Bartlett Hayes, the second director of the Addison Gallery, conducted by Carol Walker Aten, curatorial assistant, Feb. 1, 1991 (2 cassettes). Also included are a transcribed interview (2 cassettes, 38 p.) of Maud Morgan and Gordon (Diz) Bensley, who reminisce about the early days of teaching art at Abbot Academy and Phillips Andover; and a 6 p. summary of the Hayes interview.