The papers of California Photorealist painter Ralph Goings, measure 4.1 linear feet and date from circa 1950 to 2005. The collection is comprised of biographical material, professional correspondence with artists, dealers, museums, and other art organizations, project files, inventory and sales records dating from 1970 to 1975, and printed material featuring Goings and his artwork. There is a 1.7 linear foot unprocessed addition to this collection donated in 2020 that includes slides and photographs used for paintings (source material and subjects) and images and photographs of works of art; inventory of works of art; correspondence; and project and exhibition files. Materials date from circa 1957-2008. A portion of the addition is in electronic format.

An exhibition on the growth of African American churches in the eastern United States. The exhibit was organized by the Anacostia Neighborhood Museum and held there from October 1987 to October 1988. These records document the planning, organizing, execution, and promotion of the exhibition. Materials include correspondence, research files, exhibit scripts, administrative records, brochures, press coverage, education packets, loan agreements, floor plans, and catalogues.

The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.

The papers of conservator and museum director George Leslie Stout measure 6.4 linear feet and date from 1855, 1897-1978. Stout was head of the conservation department at Harvard University's Fogg Art Museum, director of the Worcester Art Museum and Isabella Stewart Gardner Museum in Massachusetts, and a member of the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The bulk of the collection consists of correspondence with family, friends, colleagues and professional associations. There are letters from fellow Monuments Men who served in the MFAA section such as Thomas Carr Howe, Ardelia Hall, Lamont Moore, Theodore Sizer, Langdon Warner and several other prominent arts administrators. The papers also contain biographical materials, writings, sketches and one sketchbook, military records, printed materials, and photographs. There is a 0.2 linear foot addition to this collection acquired in 2020 that includes four diaries, 1944-1946, kept by George Stout as a member of the Monuments, Fine Arts & Archives Section (MFAA) of the U.S. Army (known as the Monuments Men). The diaries describe Stout's experiences surveying war-caused damages in France, Germany, and Japan, and the recovery of Nazi impounded art works. Also included is a hand-made booklet that includes a "Glossary of Cha-no-yu Terms," which consists of quotes about Japanese art and tea drinking.

The records of Jacques Seligmann & Co. measure approximately 203.1 linear feet and date from 1904 to 1978, with bulk dates from 1913 to 1974. The collection includes extensive correspondence files, reference material on American and European collectors and their collections, inventory and stock records, financial records, exhibition files, auction files, and the records of subsidiary companies. The collection is an invaluable resource in tracing the provenance of particular works of art and provides a comprehensive view of the activities of collectors and art dealers in the years leading up to and following World War II.

William Duncan Strong's early interest was in zoology, but, while an undergraduate at the University of California, he was brought into anthropology under the influence of Alfred Louis Kroeber. He conducted archaeological and ethnological field research in several areas of the New World and was the first professionally trained archaeologist to focus on the Great Plains, where he applied the so-called direct historical method, working from known history in interpreting archaeological sites. Strong's papers include correspondence, field notes, diaries, newspaper clippings, teaching notes and student papers, manuscripts of his writings, writings by other authors, papers from the various organizations in which he served, maps, and a considerable number of photographs from his field work. The materials date from 1902 to 1965, with most of the materials being from 1927 to 1955.

The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's private art consulting work outside of her curatorial work at the Museum of Modern Art in New York City. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, the World Trade Center, and other miscellaneous corporate and private clients. Miller's work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files of her husband Holger Cahill about his work as Director of the Federal Art Project. There is a scattered documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Also found is Dorothy Miller's collection of artists' Christmas cards and photographs of Miller and others. An addition to the papers includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number professional files are included, the majority of the addition relates to her personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection.

The Solon H. Borglum and Borglum family papers date from 1864 to 2002 and measure 11.5 linear feet. The collection documents Solon Borglum's personal life and his career as a sculptor specializing in Western themes through biographical material, family and general correspondence, writings and notes, research for his biography, financial and business letters, printed material, photographs and artwork.

The papers of artist Michael Mazur measure 22.2 linear feet and 22.83 gigabytes, and date from circa 1936 to 2016, documenting a studio and exhibition practice in addition to teaching and activism activities in both paper and digital formats in the following series: biographical materials, correspondence, studio records, gallery records, project records, affiliations, exhibition records, writings, printed materials, photographic materials, and artwork.

The collection measures 45.7 linear feet and and documents the life of American abstract artist, writer, poet, and illustrator Charles Green Shaw. The papers date from 1833-1979 with the bulk of the material spanning 1909-1974 and a single item of ephemera dating from 1686. Records include biographical information and correspondence with family, colleagues and several artists and writers. The papers also contain writings and extensive diaries, sketchbooks and scrapbooks spanning Shaw's entire career, scattered financial records and other printed material.