The papers of painter and educator Max Beckmann measure 1.4 linear feet and date from 1917 to 1954. The collection documents Beckmann's art career in Germany as well as New York and includes biographical material, correspondence, printed material and photographs.

The papers of painter and sculptor George Sugarman measure 12.22 linear feet and 21.83 GB and date from 1912 to 2001, with the bulk of the material dating from 1959 to 1999. The collection documents Sugarman's career as a sculptor primarily through correspondence, project files, exhibition files, writings, and photographs. The collection also includes address and appointment books, business and financial records, and printed material. A partially processed addition consisting of audio (3 sound cassettes) and video recordings (1 video reel, 1/2", 11 videocassettes, 7 U-matic and 4 VHS), and one Super 8 mm motion picture film, as well as digital copies of the film and video recordings, includes lectures by Sugarman, documentaries about Sugarman and his sculptures, and radio and television appearances by Sugarman.

The glass plate negatives of the Provincetown Art Association measure 0.44 linear feet and 0.116 GB and date from 1916 and include images believed to have been taken for A. J. Philpott's August 1916 Boston Globe article entitled "Biggest Art Colony in the World at Provincetown." In addition to the twelve glass plate images of artists at work in Provincetown, including George Elmer Browne and E. Ambrose Webster, the collection includes the original negative box, a circa 2006 photocopy of Philpott's article, and digital copies of the glass plates.

The papers of painter and educator Edwin Ambrose Webster measure 2.2 linear feet and date from 1821 to 1968. Found within the papers are biographical material; business and personal correspondence; writings; teaching and research files, including information on Webster's participation in the 1913 Armory show; printed material; artwork; and photographic materials of Webster, his family and friends, and his work.

The papers of American art collector, paint manufacturer, lecturer, and painter, Leonard Bocour measure 11.8 linear feet and date from 1933 to 1993. Found within the papers are biographical material; miscellaneous correspondence with artists and colleagues, including Helen Frankenthaler, Chaim Gross, Philip Guston, Alex Katz, Jack Levine, Morris Louis, David Oxtoby, and Philip Pearlstein; diaries, daily calendars, notes and writings; personal business records and the business records of Bocour Artist Colors, Inc.; transcripts of interviews with Bocour; and printed material.

The papers of studio assistant Andre Thibault/Teabo regarding African American painter Romare Bearden measure 0.9 linear feet and date from circa 1930s to 2003 with the bulk of the material dating from 1980 to 1998. The papers consist of administrative records such as financial and gallery records. Correspondence includes letters from Romare Bearden, his wife Nanette and Andre Thibault. Of note is correspondence between Thibault and Nanette concerning the signature on a Bearden painting. Printed material includes exhibition catalogs, posters, magazines, art books and source material used by Bearden. Artwork consists of a self-portrait, a sketchbook, collage pieces, and oversize drawings by Bearden. Photographic material is comprised of photographs of Bearden, his art, studio, Andre Thibault/Teabo, Russell Goings and others.

This collection contains 3 gelatin silver prints shot by Joseph K. Dixon as part of the Wanamaker Expedition circa 1913.

The records of New York City Grace Borgenicht Gallery date from circa 1953 to 1996 and measure 18.2 linear feet. The records include administrative files, correspondence, financial and legal records, exhibition files, printed material, two scrapbooks, and photographic negatives of artwork. The majority of the collection consists of artists' files.

The papers of painter, printmaker, and photographer Konrad Cramer and his wife, painter and printmaker Florence Ballin Cramer, measure 8.5 linear feet and date from 1897 to 1968. Papers document both artists' personal and professional lives and are especially rich in documentation of the art community of Woodstock, New York, where Florence Ballin first attended art classes in 1906, and where the couple settled in 1911. Records include biographical materials, correspondence, a Christmas card album, diaries, writings, business records, personal financial records, printed materials, photographs, and artwork.

This small collection of papers (168 items) of socialite, art collector and patron Flora Whitney Miller document Miller's life-long friendship with surrealist artist Kay Sage measure 0.2 linear feet and date from 1915 to circa 1982. Found within the papers are 79 letters written to Miller by Sage; four letters written to Miller after Sage's suicide about Sage, and one reply letter; typescripts of 63 poems written by Sage, one handwritten poem by Sage, two Sage exhibition catalogs, and 18 snapshot photographs of Sage, Miller, and their friends. Documentation of Miller's career is not found within the papers.