This accession consists of exhibition catalogs (both traveling and in-house), brochures, pamphlets, illustrated checklists, and other publications created around a specific themes or genres drawn from the collections in the National Portrait Gallery.

This collection is comprised of digital surrogates previously available on the 58 rolls of microfilm described in NARA publication M2029. These digital surrogates reproduced the field office records of the Freedmen's Branch in the Office of the Adjutant General, 1872–1878. These records consist of bound volumes and unbound records, including letters sent, letters received, registers of letters received, and registers of claims.

The Mary E. "Mother" Tusch Collection reflects her interest in aviation. It consists of 12 boxes that contain photography, family documentation, news clippings and scrapbooks.

The papers of African American sculptor and painter Charles Searles measure 3.9 linear feet and date from 1953 to 2010. The collection documents his career through scattered biographical material, correspondence, personal business records, printed material, artwork, photographs, and a scrapbook.

These records primarily document the research programs and administration of the Radiation Biology Laboratory (RBL), 1965-1983, and the Smithsonian Environmental Research Center (SERC), 1983-1986, under Director William H. Klein. Also included are smaller amounts of material created by the Smithsonian Astrophysical Observatory (SAO) and the ...

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

The Sullivan Family papers, which date from 1880 to 1994 and measure 2.25 linear feet, document the personal lives of four generations in the Sullivan Family. The papers are comprised of personal correspondence, school materials, legal documents, financial records, clippings, books, posters, and photographs.

The papers of New York based interdisciplinary artist Nancy Davidson measure 5 linear feet and date from 1970s-2016. The collection includes biographical material, correspondence, illustrated notebooks and notes, gallery and exhibition files, printed material, photographic material, and two sketchbooks. Nearly one linear foot of correspondence arranged chronologically is both personal and professional. Notable correspondents include Michiko Itatani, Joyce Kozloff, Eunice Lipton, Sabra Moore, and Nancy Spero. Galleries and museums include Marianne Denson Gallery; Museum of Contemporary, Chicago; N.A.M.E. Gallery, of which Davidson was an artist member; the Walker Art Center; and White Columns. Over thirty notebooks capture Davidson's work process, evolution of ideas, related sketches in pen and pencil, reflections from readings and lectures, and notes from critiques with fellow artists Rosemary Mayer, Joyce Kozloff, Ray Yoshida, and Richard Halstead. A large sequence of printed material includes announcements, books, bulletins, newsletters, calendars, clippings, exhibition catalogs, periodicals, press releases, programs, and a few other items of printed matter relating to Davidson's professional career.

The papers of painter, etcher, printer, muralist, and art teacher Gabrielle de Veaux Clements measure 1 linear foot and date from 1860 to 1948. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Clements to her mother; writings, including notes and essays on art history and etching techniques; printed material; artwork; eight sketchbooks; and photographs of Clements, her family and friends, and her work.

The papers of artist Ellen Lanyon measure 62.6 linear feet and date from circa 1880-2014, bulk 1926-2013. Biographical material; correspondence; interviews; writings; journals; project files; teaching files; exhibition files; personal business records; printed and broadcast material; scrapbooks; photographic material; artwork; sketchbooks; as well as sound and video recordings and electronic records, provide a comprehensive view of Lanyon's career and of art circles in Chicago and New York. Correspondence with artists and friends make up a significant portion of the collection. Project and exhibition files reflect her professional and artistic career. Thousands of slides and photographs document her life and artwork over seven decades, and over seventy sketchbooks are filled with student sketches, portraits of friends and family, and preliminary drawings.