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This series contains oral history interviews, on VHS, audiocassette, DVD, and betacam, with a variety of people affiliated with the Clark family and/or the early history of the museum and graduate program. The interviews include: Javotte Ray, Francine Clark's granddaughter; Frances Greenough and Cecily Symington, Cooperstown friends of the Clarks; Cary Grayson, the son of Admiral Cary T. Grayson, a close friend of the Clarks; Venice Partenope, a nurse who cared for the Clarks in their final years; Lane Faison, Bill Pierson, and Whitney Stoddard, professors of art history at Williams College who knew the Clarks and were active in the early history of the museum and graduate program; Norman Hirschl, an art dealer who dealt with the Clarks; Alexander Stoller, a sculptor who knew Sterling Clark and Peter Guille; Victor Tardino Sr., one of Sterling Clark's accountants Daniel Perry, architect of the 1955 museum building; George Heard Hamilton, former director of the Clark; Lou McManus, former superintendent of Buildings and Grounds at the Clark; David Brooke, former director of the Clark who conducted research on the Clark Family and the early history of the museum; and Casmir de Rham, a Clark trustee. There is one DVD of a panel talk held in 1994 with Lane Faison, Daniel Perry and Venice Partenope discussing their recollections of RSC moderated by David Brooke. There are many duplicates in the series. There are up to 3 VHS copies of some interviews, as well as copies on Betacam, DVD and audiocassette. Interviews with David Brooke and Waldo Johnston, Jr. only exist on DVD. The DVD of the interview with Daniel Perry also includes historical footage of the Clark and "Never Say Die" winning the Derby. The audiocassette interviews of Cecily Symington, Frances Greenough, Whitney Stoddard, and Bill Pierson do not have an accompanying video.

These photographs include images of the construction of the 1955 and 1973 buildings; installations of the permanent collection and special exhibitions; school group visits; special events; and other subjects related to the Clark. See the Archivist for a detailed listing of individual photos.

This series contains the records of Michael Rinehart, librarian of the Sterling and Francine Clark Art Institute from 1966-1987. The series includes an assortment of records regarding the early development and administration of the Library. The bulk of the material is business and personal correspondence. The correspondents include other museums and libraries, national museum and library associations, Clark trustees, Rinehart's students, and Clark staff. Much of the correspondence deals with the development of the library collection through gifts, purchases, and exchanges with other libraries. There are several folders of personal correspondence with Rinehart's colleagues, friends, and former students. The series also contains syllabi and course work for graduate courses taught by Rinehart, daily planners for the years 1977-1980, files on the hiring and evaluation of library staff, and financial records such as budgets, records of gifts, and drafts of annual report statements.

This series contains the records of the Photograph and Slide Librarian at the Sterling and Francine Clark Art Institute from 1974-2003. The bulk of this material is from J. Dustin Wees, who held the position from the 1970s through 2000, but some of it is from Elizabeth Kieffer. Kieffer served as slide cataloguer from 1984-2000, and as the Photograph and Slide Librarian from 2000 to 2003. There are several distinct sections within these records but the majority of the material relates to slide acquisitions and departmental business such as hiring and staff salaries. The first and by far the largest section is Wees's correspondence files. This correspondence primarily concerns the purchase, exchange, and conservation of slides but other subjects include requests for letters of recommendation from former employees, job applications, and purchase orders. Correspondence about slides includes letters from staff at other museums, libraries, and galleries. There are some letters in French, Italian, German, Spanish, and Russian. Other sections include applications for summer employment, budget preparation files, files of statistics and drafts for the annual report, disbound binders of paid invoices, purchases and gifts, and lists of photographs of artwork from the Courtauld Institute. In addition to these groups of files, there are some unorganized files throughout the series that deal with various departmental and museum issues.

This series consists of a ledger containing library acquisitions statistics from 1964-1998. The statistics include monthly and yearly totals. In addition to the general totals, totals are also broken down into the numbers of periodicals, books, and gifts acquired.

These eleven albums contain photographs, snapshots, invitations, programs, announcements, and some clippings documenting events and installations at the Clark between 1951 and 1983. There are two identical albums devoted to the 1967 Wildenstein Exhibit, one album with photographs of the construction of the service building, and one album labeled New Addition Photos. The earliest album contains photos of the construction of the 1955 building, clippings relating to the founding and progress of the Institute, and information about early exhibits. The rest of the albums present a chronological picture of musical performances, exhibits, parties, school visits, and other events through 1983.

This series contains a variety of formal and informal photographs of Clark staff and museum patrons. Photographs of staff include formal staff portraits and informal photos of staff members working in their offices, on the museum grounds, and on building construction. Photographs of museum events include both staff and museum patrons depending on the type of event. Events represented in the series include galas, lectures, concerts, and staff parties. See the Archivist for a detailed listing of individual photos.

This series contains research and planning material for the museum's long range plan of 1996 compiled by Brian O'Grady, manager of the museum shop. The records in this series primarily consist of multiple drafts of the long range plan edited and corrected by various staff members. Other materials include memos and staff questionnaires about the plan.

This series contains the Director's copies of board books from the quarterly meetings of the Board of Trustees at the Sterling and Francine Clark Art Institute. The books contain copies of departmental and committee reports, the director's report, minutes from the previous meetings, and recent newspaper clippings about the Clark. There are also occasionally loose pages of notes and marginal notations from the director.

This series contains the official meeting minutes for meetings of the Board of Trustees at the Sterling and Francine Clark Art Institute. The minutes are typed in narrative form and summarize the reports presented at the meetings by the Director, the President of the Board of Trustees, and various committees. The minutes also record votes taken at the meetings on issues such as loans, budgets, and acquisitions. There are typically several meetings for each year including the annual meeting and special meetings. The first volume of records also includes founding documents of the museum such as the articles of organization, an agreement of association, and early tax materials.

The records in this series relate to the publication of several books and exhibition catalogues from 1973-1998, but predate the formation of a formal publications department. These files primarily contain first drafts of essays published in the catalogues and correspondence, invoices, and purchase orders from writers, editors, printers, and others involved in the creation of these publications. There is also correspondence regarding reproduction rights for the use of images from outside of the Clark Collection. Much of the correspondence is addressed to Mary Jo Carpenter in the Office of Membership and Public Relations and Mary Ann McSweeny in the Curatorial Office. Material relating to the 1998 publication of Farewell to the wet nurse: Etienne Aubry and images of breast-feeding in eighteenth-century France and the 1997 publication of English, Irish, and Scottish silver at the Sterling and Francine Clark Art Institute account for approximately half of all the material in this series. The remaining files relate to an assortment of Clark publications from the 1970s through 1990s.

This series contains the files of Martha Asher, registrar at the Sterling and Francine Clark Art Institute from 1970-1999. There are two types of records in the series. The first is a group of general working files. They contain project planning materials including correspondence and floor plans of galleries. The general files also contain reference materials such as instructional handouts for various routine departmental tasks and instruction manuals and warranties for office equipment. The second group of records in this series was found in chronologically organized binders labeled "exhibition checklists" and contains summaries, inventories, and labels for exhibitions at the Clark, from 1968-1995.

This series contains the files of Mary Jo Carpenter. Carpenter worked at the Clark from the 1970s through 1991, originally as the membership secretary and later as the director of Public Relations and Membership. The bulk of the material is correspondence, brochures, and newspaper and magazine clippings. This early material is roughly divided into four categories: the Clark and other area museums; fundraising and grant applications; professional organizations, such as the American Association of Museums and the New England Museum Association; and museum conferences. The later material is divided into categories of ads, annual report, publications, publicity, seminars, and conferences.

This record group contains the Director's Office records of receptions, lectures, parties, and other events held at the Clark Art Institute between 1957 and 1989. These files contain copies of invitations to the events; press releases and newspaper clippings about the events; menu planning and order forms from the catering companies; guest lists; responses from invitees; seating charts for the events; and other related material. The events range from small receptions with cookies and coffee to full dinner parties. The reasons for the events include celebration of the opening of new exhibitions, staff parties, guest lectures, Williams College graduations and reunions, and visits to the museum by celebrities and dignitaries. There was a recital by Rudolf Serkin in 1973 in honor of the opening of the museum's auditorium. Events were held for visitors such as King Bhumibol Adulyadej of Thailand, Prime Minister Pearson of Canada, Frank Capra, and Lady Bird Johnson. There are no records for 1981-1982 or 1958-1960.

The Director's Office Records of Loan Requests include correspondence about accepted and rejected loan requests from other institutions for CAI artworks. The files primarily contain correspondence between the Director of the Clark and the Directors of the institutions requesting the loans. Several of the folders include reports on the value and condition of the artwork in question, interdepartmental memos between Clark staff members, and facility reports on the institution making the request.

These records contain inquiries regarding sales items such as catalogues, postcards, photo reproductions, etc., as well as requests for general museum information and lost / found items. There are also receipts and invoices for sales items and acknowledgments of catalogues received from other museums.

One box contains invoices from the George A. Fuller Company for construction of the service building. These invoices are arranged by month beginning in April 1963 and ending in March 1964. The second box contains binders that house end-of-year spreadsheets for the Institute's finances, as well as paid invoices from 1955 through 1963. The final box contains invoices from 1966.

This series relates to the 1990 publication of American Paintings and Sculpture at the Sterling and Francine Clark Art Institute. The majority of the files contain correspondence and permission forms permitting the Sterling and Francine Clark Art Institute to reproduce artworks from other museums and collections within this publication. The series also contains research materials such as photocopied articles about artists represented in the collection and bibliographies of artworks found in the publication. Some files in the series contain financial information, such as royalty statements from Hudson Hills Press, Inc. The majority of the material is from 1985-1990.

The records of Stephen Kern primarily contain correspondence, memoranda, and research materials about painters and paintings represented in the Sterling and Francine Clark Art Institute's collection. The majority of the files contain photocopied articles about particular artists and rough drafts of related exhibition catalogues and labels. There are also several files of loan requests from other museums with accompanying conservation appraisals and exhibition histories of the works in question. Some files contain general curatorial correspondence and departmental budgeting.

Lisa A. Jolin was the curatorial secretary from 1989 to 1997. Among her files are copies of other staff members' correspondence, including that of Rafael Fernandez, curator of prints and drawings from 1975 until 1994; and Steven Kern, curator of prints from 1989 through 1995. Also contained in her files are records relating to shows at the Clark, including Empires Restored, Elysium Revisited: The Art of Sir Lawrence Alma-Tadema in 1992; A Golden Harvest: Paintings by Adam Pynacker in 1994; and Facing the Past: 19th Century Portraits from the Collection of the Pennsylvania Academy of Fine Arts, also in 1994.

These are the records kept by Jennifer Gordon Lovett during her career at the Clark Art Institute from 1983-1995. These files cover a large spectrum of curatorial office concerns including meeting notes, budgets, exhibition ideas, photo orders, loan records, acquisitions files, business correspondence, and grant applications. There is material concerning the CAI trustees, grad students, interns in the curatorial office, lenders, donors, and staff at other museums. This series contains a great deal of photocopied correspondence that was forwarded to Lovett but not directly addressed to her. Some of the correspondence is addressed to Lovett's assistant, Heather McIntosh.

These records contain curatorial records of exhibits held at the Sterling and Francine Clark Art Institute between 1951-1978. The materials include exhibition catalogues, invitations to exhibition events, lists of invitees and attendees to exhibition events, press releases, newspaper and magazine articles about the exhibitions and occasionally correspondence about insurance, costs and scheduling with other institutions collaborating on or co-hosting exhibitions.

This series contains event files from the Research and Academic program. The files include programs, brochures, lists of participants, budgets, and planning correspondence from colloquia, symposia and other conferences organized by the Clark.

This series primarily contains correspondence to and from the museum's sales desk from 1957-1962. At this early point in the museum's history, the sales desk handled a variety of museum issues later associated with other departments such as the museum shop, the library, and the public education department. Correspondence topics represented in these files include bills paid, brochure and catalogue requests, slide loans and reproductions, visitor suggestions, group tours, lost and found items, and general inquiries about the hours and operation of the museum. Much of the correspondence is addressed to or from Mildred Flynn, the sales supervisor. There is also a seemingly unrelated file containgin a legal document naming the executors of Francine Clark's will in 1960.

This series contains correspondence between the registrar's office and publishers requesting permission to reproduce images of artwork from the Sterling and Francine Clark Art Institute's collection between 1958 and 1995.

This series contains the records of the Comptroller's Office from 1971 to 1984, spanning the tenures of Virginia Riorden, comptroller from 1980-1990, and her predecessor, Joseph A. Kershaw. The Kershaw records primarily contain correspondence and forms regarding insurance policies for staff and works of art. The Riorden files contain memos and correspondence regarding preparation and administration of the museum budget, staff benefits, and wages.

This record group consists of carbon copies of John H. Brooks's outgoing business correspondence from 1968-1977. They are mostly short letters and there are rarely replies or earlier correspondence from the recipients. Brooks was employed by the museum beginning in 1968 as the assistant, and later associate, director. The content of this correspondence primarily deals with planning and organizing events at the Clark, confirming school group visits, confirming flight and hotel reservations for visiting lecturers, and arranging meetings between staff members.

This series contains an assortment of records from the museum shop including sales and inventory reports and ledgers, budgets, planning for store renovations and expansions (including the development of a satellite store in Lenox, MA), development of the cafe, development of the mail order catalogue, development of new museum shop products, and records from CAI committees on which Brian O'Grady, the shop manager from 1982-1997, served.

This three ring binder, covered in faded blue fabric, contains four loose ledger sheets documenting the breakdown of the annual budget from 1955 through 1958. The pages inserted in the binder are divided into 35 sections, with headings such as Acquisitions, Equipment, Negative Numbering System, Photography, and Visitors: Accidents in the Galleries. A label on the front reads: Policy Book / Administrative Manual / Up-to-date through approximately Oct. 1966 / Revised pages have not been added yet. The pages contain information about planning receptions, ordering supplies, creating signage, accepting applications, keeping records for the archives, and other tasks necessary to running the Institute.

This series contains end-of-residency evaluations filled out by visiting fellows of the Research and Academic Program and the Sterling and Francine Clark Art Institute.

This series contains personal and business records of Elizabeth (Libby) H. Burrows. Elizabeth Burrows and her husband H. Morris Burrows were major donors to the Sterling and Francine Clark Art Institute. in 2000 the Burrows donated their American Silver Collection which had been on loan to the Clark since 1975. In 2004 the Burrows estate donated 8.4 million dollars to the Clark. At the time it was the largest private donation ever given to the museum. Elizabeth H. Burrows was born Elizabeth Hiscox in 1910. She graduated from Vassar College in 1931. She was married to Philip A. Salmon from 1938 until his death in 1968. She married H. Morris Burrows, also a widower, in 1972. Elizabeth Burrows died in 2003. The Burrows' interests, as reflected in this series, included American Silver, Mercer cars, and travel., The items in this series roughly fall into three categories. The first category, business correspondence, contains correspondence with the Clark and with other museums and dealers about the Burrows Collection including loan records and appraisals. The second series, financial records, includes inventories and receipts for their art and silver collections, records of art works sold, and personal financial records such as insurance policies, real estate, and wills. The Third, and largest, category contains ephemera and personal research about a variety of the Burrows' interests including antique cars, genealogy, travel, and local history. The ephemera also includes college yearbooks from Eunice Sage Burrows, Elizabeth Hiscox Burrows, and Henry Morris Burrows; Elizabeth Burrows' calendars and appointment books from 1958-2000; photographs of the Burrows, their families and friends; and several scrapbooks. The topics of the scrapbooks include family photos, travel abroad, Philip Salmon's WWII service, College event programs an invitations, and antique cars.

William J. Collins was brought on as the first curator of prints and drawings in 1958. He had been the head, since 1939, of the Department of Prints at Knoedler & Co. in New York City, where the Clarks purchased many of their artworks. Collins passed away unexpectedly in 1960., This collection consists of a number of different types of items. A three-ring binder documents sales of prints, drawings, and etchings to such major early-20th century collectors as Henry Clay Frick, Andrew W. Mellon, John D. Rockefeller, Jr., Joseph Widener, and Blanche Adler. Sales date back as early as 1902, so the binder probably belonged to Collins's predecessor at Knoedler's, Norman F. Wells, or perhaps even Wells's predecessor. Collins kept a number of loose letters and ephemera stored inside its covers. There is also a small bound leather book divided into alphabetically tabbed sections. Most of the pages are blank, but some contain more lists in the same handwriting as the binder. They may also be prints and drawings bought or sold by Knoedler, but the annotations use abbreviations and numbers that are indecipherable. An A-Z accordian file contained items relating to both the life and work of Collins, including a letter to his father composed after his brother was killed in battle during World War I; a letter from RSC, along with Collins's responses, regarding some prints RSC was hoping to buy; photographs of works Collins was buying or selling; ephemera relating to art shows; and other correspondence. The remaining items were found in Collins's room at the Williams Inn after he died. These include catalogs and other publications; several small oil paintings perhaps done by Collins; ephemera such as his credit card and Catholic holy cards; and additional correspondence and documents. One folder of materials is labeled James F. Drake, Inc. and contains correspondence between Collins and the rare book dealer regarding obtaining a number of art books for the Clark.