This accession consists of correspondence created or maintained by Donald R. Davis, Curator, 1961- , and Chair, Department of Entomology, 1976-1981. Topics covered include Lepidoptera (moths, butterflies) research, specimen identification and loans, and professional activities. Some materials predate 1963, when the department was the Division of Insects. Materials include correspondence, transparencies, proposals, photographs, notes …

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

Harrington was a Bureau of American Ethnology ethnologist involved in the study of over one hundred American tribes. His speciality was linguistics. Most of the material concerns California, southwestern, northwestern tribes and includes ethnological, archeological, historical notes; writings, correspondence, photographs, sound recordings, biological specimens, and other types of documents. Also of concern are general linguistics, sign language, writing systems, writing machines, and sound recordings machines. There is also some material on New World Spanish, Old World languages. In addition, there are many manuscripts of writings that Harrington sketched, partially completed, or even completed but never published. The latter group includes not only writings about anthropological subjects but also histories, ranging from a biography of Geronimo to material on the history of the typewriter. The collection incorporates material of Richard Lynch Garner, Matilda Coxe Stevenson, and others. In his field work, Harrington seems sometimes to have worked within fairly firm formats, this especially being true when he was "rehearing" material, that is in using an informant to verify and correct the work of other researchers. Often, however, the interviews with informants (and this seems to have been the case even with some "rehearings") seem to have been rather free form, for there is a considerable intertwining of subjects. Nevertheless, certain themes frequently appear in his work, including annotated vocabularies concerning flora and fauna and their use, topography, history and biography, kinship, cosmology (including tribal astronomy), religion and philosophy, names and observations concerning neighboring tribes, sex and age division, material culture, legends, and songs. The fullness of such materials seems to have been limited only by the time Harrington had to spend with a goup and the knowledge of his informants.

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.

The Esther Schiff Goldfrank papers, 1920-1980, document her professional life in anthropology. Much of the field material and reading notes relate to Goldfrank's work on the Pueblos, Navahos, Blood, and Teton Dakota. There is also considerable material of colleagues. Some of this seems to have been given to her directly. Other material, particularly that of Ruth Benedict's Blackfoot project, was acquired by Margaret Mead and then sent to Goldfrank. Included are field notes or manuscript articles concerning the Blackfoot Indians by Benedict, Harry D. Biele, Marjorie Lismer, Jane Richardson, and George D. Spindler. Most of the photographs in the collection concern Goldfrank's early travels with Franz Boas or Harvey Biele's work with the Bloods. Copies of illustrations used in her autobiography are also included.

This collection consists of the oral history transcripts and related research documentation for the Space Telescope History Project (STHP), which examined the space sciences, predominantly astronomy, viewed through the lens of a particular undertaking, the Hubble Space Telescope, 1970s-1980s.

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

The Betty J. Meggers and Clifford Evans Papers document their research and professional activities from 1946-2012 and primarily deal with their archaeological and anthropological research in South America. Their work at the Smithsonian National Museum of Natural History and their frequent collaboration with other researchers and professional organizations is also represented. In addition, this collection contains detailed records on South American research conducted by the Smithsonian Institution from the 1950s through the 2010s. The collection consists of research and project files, raw data and analysis, graphs and illustrations, photographs, correspondence, maps and charts, and administrative files.

The collection measures 20.8 linear feet, dates from 1885 to 1991 (bulk dates 1908-1986) and documents the career of lithographer, teacher, and painter Prentiss Taylor. The collection consists primarily of subject/correspondence files (circa 16 ft.), reflecting Prentiss' career as a lithographer and painter, his association with figures prominent in the Harlem Renaissance, notably Carl Van Vechten and Langston Hughes, his activities as president of the Society of Washington Printmakers and other art organizations, his work in art therapy treating mental illness, and his teaching position at American University. The subject files contain mostly correspondence, but many include photographs and printed material. Also included are biographical, financial, legal and printed material; several hundred photographs; notes and writings; sketchbooks, drawings and a few prints by Taylor; and scrapbooks dating from 1885-1956.

The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and sound and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.