The records of the Poindexter Gallery measure 7.1 linear feet and date from 1931-1985 with the bulk of the materials dating from 1955-1978 when the gallery was active. The majority of the collection consists of artists' files documenting the gallery's relationships with its artists, including exhibitions, and containing a wide variety of materials, including photographs. Also found are the "desk files" kept by the gallery's founder, Elinor Poindexter; correspondence; and financial and legal records.

Avis Berman research material on art and artists consists of interviews conducted by Berman and scattered correspondence in preparation for various books, articles and exhibitions. Subjects include Romare Bearden, Adelyn Breeskin, Chaim Gross, Jacob Lawrence, Reuben Nakian, and Helen Farr Sloan regarding John Sloan.

Photographs by William S. Soule of Native Americans and camps in the vicinity of Fort Dodge, Kansas and Camp Supply and Fort Sill, Oklahoma. Tribes represented include Arapaho, Caddo, Cheyenne, Comanche, Kiowa, Kiowa-Apache, and Wichita. One albumen print mounted on a card with C. W. Carter's photographer imprint, though the photograph was made by...

Correspondence, photographs, slides, files, consigment of works of art to Cavin-Morris, Inc., and an account book for works of art by Howard Finster and Miles B. Carpenter, printed material concerning the Camp's interest and business in American folk art.

Correspondence, including letters, calling cards and sketches from American and European artists, among them Albert F. Bellows, Eugene Benson, Edwin H. Blashfield, Rosa Bonheur, Adolph W. Bouguereau, Samuel Colman, Clarence Cook, Jasper F. Cropsey, F. O. C.Darley, Charles F. Daubigny, John Du rand, Sanford R. Gifford, E. D. E. Greene, Augustus Hopp...

The Peter Hopkins papers measure 2.4 linear feet and date from 1823-2001, with the bulk of the materials dating from 1935-1994. Writings, letters and diaries make up most of the collection. Printed materials relate to exhibitions of Hopkins' artwork and theatrical performances of his wife, Gertrude Beach Hopkins. There also are writings by both Hopkins and his wife that appeared in the Christian Science Monitor. Of particular interest is a group of vintage family photographs and family papers dating from the 19th century, as well as diaries Hopkins kept while traveling and working in a mental hospital in inland China in the mid 1930s.

The papers of New Hampshire landscape painter William Preston Phelps and his daughter, artist Ina Phelps Hayward, measure 1.1 linear feet and date from 1849-2001, with the bulk of the material dating from the 1890s to the 1920s. Papers include letters from Phelps, and correspondence regarding Ina Phelps Hayward's involvement in her father's 1917 estate sale; sales and legal records related to the Phelps estate; a scrapbook and printed material about William Preston Phelps; a sketchbook of sketches attributed to Phelps; sketches by Ina Phelps Hayward and her husband Roger Hayward; photographs of Phelps, his home and studio in Chesham, New Hampshire, and his artwork; and glass plate negatives, including two of Phelps and thirty-six of his artwork.

The papers of illustrator, muralist, theatrical set designer, and professor Maxine Seelbinder Merlino papers measure 1.1 linear feet and date from 1928-2003. The collection includes correspondence; newspaper clippings and reviews of artist's work; sketches for stage and set designs and mural decorations; federal commission contracts; exhibition brochures; theater playbills and announcements; photographs; original art work, including drawings and sketches; original lithographs; and material on the dedication of the Merlino Gallery at California State University, Long Beach.

The records of Kathleen Ewing Gallery, a Washington, DC, gallery that specialized in the work of photographers, measure 3.8 linear feet and 0.475 GB and date from 1946 to 2009, with the bulk of the papers dating from 1975 to 2009. Artists' files make up the bulk of the collection and include exhibition planning documents, correspondence, price lists, publicity, artist statements, and photographs of artwork. Also found are one file of gallery history, two letters, and printed material. Printed material consists of press clippings and a complete set of gallery exhibition announcements. Some of the materials are in digital format.

The papers of abstract painter and teacher John Opper measure 1.4 linear feet and 0.057 GB and are dated 1926-2011. The papers contain both professional and personal corespondence, including letters from immediate family. Biographical materials consist of essential data including passports, birth and death certificates, and curricula vitae. Some geneological documents are in digital format. Personal business records relate to the artist's Bowery Street and Amagansett studios, and to art sales through the Grace Borgenicht Gallery. A scrapbook contains newspaper clippings. Additional clippings, group and solo exhibition catalogs and announcements documenting Opper's career, and galley sheets of a children's book illustrated by Opper are included among the printed material. Photographs are of Opper, his family, friends, and paintings. Digital photographs depict the artist and relatives. The collection also contains a few pen and ink drawings by Opper.