This accession consists of correspondence documenting the research of Diptera (flies), specimen identification and loans, and professional activities of F. Christian Thompson. Some materials predate 1963, when the department was the Division of Insects. Materials include correspondence, notes, drawings, memoranda, agreements, proposals, b...

These records consist of Smithsonian Institution Traveling Exhibition Service (SITES) exhibition files, arranged by exhibition. The files contain varying amounts of information, including itineraries, shipping and insurance papers, press releases, lists of items, correspondence with lenders, and occasional photographs.

This accession consists of records documenting declined artwork offered by artists, private collectors, dealers, art galleries, foundations, corporations, and through estates and loans to the Smithsonian American Art Museum. Earlier records date back to when the museum was known as the National Museum of American Art and the National Collectio...

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Art 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

The papers of art historian, curator, and educator Patricia Hills measure 23.1 linear feet and date from circa 1900-2015, bulk 1968-2009. Central to this collection are project files documenting professional work that resulted in lectures, publications, exhibitions, art history courses on numerous artists including Alice Neel, Jacob Lawrence, May Stevens, Rudolf Baranik, and John Singer Sargent. These files and files documenting Hills's tenure at the Whitney Museum of American Art include planning documents, research files, correspondence, manuscripts and accompanying publications, as well as other printed materials. The collection also contains correspondence with art historians, artists, curators, and others, notably Lawrence Alloway, Lowery Stokes Sims, Lucy R. Lippard, T.J. Clark, Leon Golub, and Donald Kuspit; professional files documenting grants and residencies awarded and consulting work; artist and subject files; other writings; and printed material. Membership and affiliation records document Hills' service to the profession, including Women's Caucus for Art and the Visual Culture/Art History Caucus of the American Studies Association.

The records of the New York Artists Equity Association (NYAEA) measure 26.8 linear feet and 2.99 Gb and date from 1920-2012. The records include history and founding documents, presidents' files, board of directors' files that include monthly board meeting minutes, committee files and annual membership meeting minutes, general administrative and correspondence files, financial and legal files, event and program files, artists and subject files, extensive individual membership files, art project and exhibition files, Broome Street Gallery files, NYAEA publications that include issues of The Artists Proof, printed and digital materials, four scrapbooks, sketches created by artists attending a party in honor of Yasuo Kuniyoshi, and photographs of member artists and events.

This record unit documents the activities of the Office of the Registrar staff and consists of temporary loan files; temporary exhibition files, including shipping, insurance information, and loan agreements; general correspondence files; administrative files; and the files of the Smithsonian Art Commission, 1963-1975.

The records of Henri Gallery, a Washington, D.C. gallery that showed painters from the Washington Color School and emerging artists, measure 55.4 linear feet and date from circa early 1900s, 1940 to 1996, with the bulk of the materials dating from 1957 to 1995. The gallery's relationship with artists and clients, exhibitions, sales, and other business is documented in alphabetical files containing a wide variety of materials, including correspondence, sales records, printed materials, photographs, slides, and motion picture film. Additional correspondence, newspaper clippings, 114 exhibition posters, scattered drawings, illustrated cards, and photographic materials are also found in the collection.

The records of the Richard York Gallery, a New York gallery specializing in American art from early 1800s to 1950, measure 79.3 linear feet and date from circa 1865-2005, with the bulk of the material dating from 1981 to 2004. Three-fourths of the records are artists' artwork files, documenting the sale and consignment of nearly 6,500 works of art. The gallery's activities are also recorded through correspondence, client files, gallery invoices, inventories, business and financial records, printed materials, scrapbooks, photographic materials of artwork, and estate records for the John Marin estate and Sergio Stella estate (Joseph Stella). An addition of 10.2 linear feet, dated circa 1865 to 2005, includes artists' files arranged alphabetically containing printed material, clippings, exhibition announcements, and scattered correspondence and financial documents.

Letters, business records, diary, and photographs.