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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.

This series contains the records of trips and events organized by the Public Relations Office for members of the Friends of the Sterling and Francine Clark Art Institute from 1979-1996. There is one file for each event and the events range in size and scope from small lectures held at the Clark to multi-week international trips. The records contain an assortment of trip planning and evaluation materials including correspondence with participants, correspondence with other museums, hotels and organizations visited during the trips, attendance lists, budgets, receipts, expense reports, itineraries, and trip evaluations filled out by participants.

David S. Brooke, Director of the Sterling and Francine Clark Art Institute from 1977-1994, was born in Walton-on-Thames, England in 1931. He received his Bachelor's and Master's degrees from Harvard University. Before joining the Clark, he served as assistant curator at the Fogg Art Museum in Cambridge, MA from 1960-1961, as assistant to the director at the Smith College Museum in Northampton, MA from 1963-1965, as chief curator at the Art Gallery of Ontario in Toronto from 1965-1968, and as the director of the Currier Gallery of Art in Manchester, NH from 1968-1977. The majority of these records came from David Brooke's office but a smaller group was found at a later date in the Director's Vault., The records retrieved from Brooke's office are divided into categories of professional records and personal research. The professional records span a wide variety of museum concerns including research and planning for exhibitions, grant applications, the museum s acquisitions policy, budgets, annual reports, inventories, lists of artworks, correspondence, and speeches Brooke gave to students and staff. There are particularly extensive files of research on William Bouguereau and Sir Lawrence Alma-Tadema. The Bouguereau research pertains to Brooke's 1983 publication "A Biography of Bouguereau's Nymphs and Satyr" and a 1985 exhibit "Bouguereau's Nymphs and Satyr: A Biography of a Painting." The files on Sir Lawrence Alma-Tadema concern the acquisition of the Alma-Tadema painting, "The Women of Amphissa," in 1978, which was the first major acquisition during Brooke's tenure. The correspondence in this series contains exchanges with Clark staff, researchers, donors and lenders, and staff at other museums and foundations. The professional records also contain eulogies for John Edward Sawyer, George Heard Hamilton, and Talcott Banks, and poetry by Daniel Perry, architect of the 1955 building. There is an outline and bibliography of materials in the Clark Archives detailing the papers and articles left by RSC and listing articles written about the Clark family. There are daily planners for the years 1977-1992. There are several audiotapes of interviews with David Brooke and a videotape labeled "Portrait by Clemens.", Brooke s research on RSC and the Clark family is divided into the categories of RSC Interests, Clark Family Research, Diary Photocopies, RSC Letters, Collectors, and Dealers. RSC Interests contains copies of excerpts from RSC's diaries, Brooke's notes, articles, and other research on topics that particularly interested RSC, such as horses, books, military history, and food and wine. The Clark Family Research includes articles, genealogical records, and folders of Brooke s notes on RSC and his family members. The Diary Photocopies section includes photocopies, transcripts, and indices of RSC' s diaries. RSC's letters includes both photocopies of letters to and from RSC, and Brooke s correspondence with people who knew RSC and other researchers about his research. The autobiography of Paul Clemens is also found in this section. The Collectors and Dealers sections contain Brooke's research about and correspondence with other prominent art collectors of Clark's time and art and book dealers with whom Clark dealt. Finally, this series includes an index of books on military history once owned by Robert Sterling Clark and currently in the collection of the Beinecke Library., The records from the Director's Vault contain planning materials and drafts of the 25th anniversary report, copies of director's reports, research about and correspondence with art dealers, photocopies of early institutional records such as the articles of incorporation and trustee meeting minutes from the 1950s, and photocopies of catalogue information for the RSC military library.

Born in 1910 in Mamaroneck, NY, Charles C. Cunningham attended Harvard and became a curator at the Boston Museum of Fine Arts in 1935. From 1941 to 1966 he was the director of Hartford's Wadsworth Atheneum. He went on to become director of the Art Institute of Chicago until he retired from this position in 1972. George Heard Hamilton, then director of the Clark, invited Cunningham to become chief curator. Cunningham was responsible for two major exhibits at the Clark, The Elegant Academics in 1974 and Jongkind and the Pre-Impressionists: The Painters of the Ecole Saint-Simeon in 1976. He also initiated the Conservation Laboratory, which opened in 1977. Cunningham retired from the Clark that year and died in 1979., The Curatorial Office Records of Charles C. Cunningham primarily contain correspondence about potential museum acquisitions and discussions of loans with staff at other museums. Due to his long and respected career, Cunningham had many acquaintances and close friends among curators and directors at other art institutions, as well as among art historians and dealers. The correspondence in these records includes numerous exchanges about intellectual and business concerns in the art world. The high esteem and affection his peers felt for him is evidenced in letters that blur the line between professional and personal. Other materials in this series include: class lists and grades, assignments, and correspondence with students from several courses taught by Cunningham; CAI memoranda; and financial records about costs of exhibits and loans.

These photographic materials were removed from the following series: CAI ARC 2007.01 The Records of the Director's Office 1955-1977; CAI ARC 2007.03 Director's Office Records of Trustees' Meetings; CAI ARC 2007.04 The Director's Office Records of Receptions, Events, Lectures; CAI ARC 2007.06 The Records of David Brooke; and CAI ARC 2007.07 The Director's Office Records of Loan Requests. The subjects of the photographs, negatives and slides is diverse and includes artwork, objects, events, the Clark campus, and much miscellaneous material. See the Archivist for a detailed listing of individual photos.

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 35 library visitors registers and one reader's card visitors register. In the registers library visitors have recorded the date and time of their visit, their name, and their organizational affiliation. The reader's card register spans September 1990 through Summer 1999. The visitors registers span 1967 through 2007 with a gap in the records from August 1994 through August 1996. 22 of the registers measure 7 3/4 x 12 1/4 inches, seven are 7 1/2 x 9 3/4 inches, six are 7 1/2 x 12 1/2 inches, and one is 10 x 8 inches.

This series contains scrapbooks of newspaper clippings that mention the Sterling and Francine Clark Art Institute between 1955 and 1993 and two boxes of loose newspaper clippings about the Clark spanning 1951-1994. The articles are about events, exhibitions, and changes at the Clark Art Institute. There is one scrapbook for each year. The 1988 scrapbook contains loose newspaper clippings which were never organized or glued to the pages. The 1993 scrapbook is unbound. The first box of loose clippings predate the collection of scrapbooks and are articles about the earliest Clark exhibits and the opening of the museum. The second box of clippings contains folders dated 1951-1993 (though not all years are represented). Some of the articles in these folders are duplicates of articles in the scrapbooks but some are unique. The scrapbooks appear to have been compiled by Sherrill Ingalls in the administrative office.

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.

These records appear to be from the Director's Office and span the tenures of David Brooke and George Heard Hamilton. The files are related to Trustees' meetings. There is one file for each meeting, containing the Director's report, minutes, handwritten notes, annotated reports, agendas, reports from committees, and / or reports from other departments to the Director. The information contained in these records ranges from financial planning and staffing decisions to loan requests and purchases of artwork. There is also a run of files spanning 1979 - 1988 pertaining to planning for meals and accommodations for the Trustees' meetings.

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.

The Director's Office records 1955-1977 are comprised almost entirely of business correspondence between the Director of the museum and other people and institutions though other records, such as receipts and publications, are occasionally present. During this nascent phase of the museum the Director's Office handled almost all aspects of business and consequently these files reflect a wide spectrum of museum concerns including publicity, acquisitions, finances, staff hiring, construction, and expansion of the museum. Some files are devoted to individuals and institutions while others are labelled with subjects such as Inquiries, Acquisitions, and Employment. The subject headings and content of the materials remains quite consistent throughout the years, even through the tenures of different Directors.

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.

This series contains records from the Director's Office created during the tenure of David S. Brooke, the third director of the Sterling and Francine Clark Art Institute. The majority of the records are addressed to or from Brooke, but several files include material created by other members of the staff such as department assistants and members of the curatorial department. Similarly, the majority of the files were created between 1980 and 1994, when Brooke served as director, but there are a few files with records spanning back to the late 60s.

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.

The Director's Office records of exhibitions include files of proposed exhibitions, scheduling, and budgets for each year between 1980-1989. There are also files for each exhibition held at the Clark during this time span. The individual exhibition files primarily contain correspondence from the Director to other staff at other museums requesting loans of items needed for the exhibit. Other items commonly found in these files include draft descriptions and summaries of exhibitions, press releases and lists of art works displayed in the exhibitions.

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 contains records of the Prints and Drawings Collection from 1952-1996. These records were primarily created by William Collins, curator from 1958-1960; William Ittman, curator from 1967-1971; and Rafael Fernandez, curator from 1975-1994. In the periods between the tenures of these curators the museum director and/or curators and staff from other departments handled prints and drawings business. Consequently, the series also contains files from the former directors Peter Guille, George Heard Hamilton, and David Brooke, and from curatorial assistants including Tom Fels and Kristen Collins. There is also a group of files from Egbert Haverkamp Begemann, professor of art history at Yale University, related to his 1964 publication of Drawings from the Clark Art Institute. In general the files consist of correspondence about prints and drawings acquisitions, loans, and reproductions, research for catalogues and exhibits, inventories of the collection, bills, student papers, and departmental reports.

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.

In this series are five identical bound red books embossed with the words, Visitors Register. Each book measures 11 inches wide, 8 1/2 inches tall, and 5/8 inches deep. The first one spans the dates March 25, 1977 through August 2, 1978; the second, August 9, 1978 through October 3, 1979; the third, October 3, 1979 through September 7, 1980; the fourth, September 17, 1980 through June 8, 1981; and the fifth, July 10, 1981 through October 4, 1981. In the registers, museum visitors have recorded the date and time of their visit, their name, their address, and remarks about the museum.

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 contains records from the office of the Librarian at the Sterling and Francine Clark Art Institute. The Office of the Librarian was first held by Michael Rinehart from 1966-1987, then by Sally Gibson from 1987-1997, and by Susan Roeper from 1997-present. Each librarian used and added to the files of his or her predecessor and consequently these files are a mix of material from Rinehart, Gibson, and Roeper. This series contains correspondence with other libraries and institutions, library budgets from 1992-1996, staff meeting records, policy handbooks and guidelines, research and reports on library projects and committees, and the records of several patron satisfaction surveys.

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 series contains two distinct groups of material. The first is the combined files of David Cass, curator of paintings from 1973-1985 and Alexandra (Alixe) Murphy, his successor from 1985-1988. The second is a series of files about the paintings collection from an unidentified source from the 1950s and 1960s., In the first group Cass's material is roughly separated from Murphy's but all of the files were apparently in Murphy's possession during her tenure as curator of paintings and they are intermingled in places. There are also some files from Moira Jones, curatorial/registrarial secretary, and John Hallmark Neff, assistant curator. These files contain correspondence, memoranda, and research materials about the Sterling and Francine Clark Art Institute's collection, acquisitions, conservation work, loans, and exhibitions. There are also files on departmental matters such as staffing and budgets., The second group of material dates from the 1950s and 1960s and the creator is not identified but the files clearly relate to the paintings collection. The records primarily consist of exhibit label planning including handwritten notes, typed drafts of the labels, and photographs of the artwork being described. The records also include news clippings about the museum and drafts of exhibit catalogues.

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 the records of the Education Department from 1993-2004. There records relate to tours and educational programing for the museum, the docent program and docent summer school, and departmental business. The events records primarily concern school tours and contain correspondence with teachers, copies of tour information, and evaluations. Other events represented in the collection include weekend workshops, family days, and teacher training sessions. There are also copies of slide presentations which were sent to schools who could not visit the Clark. The material on the docent program includes lists of docents and their schedules, docent evaluations, a VHS program developed by the Clark titled A Decent Docent Doesn't Do, and course materials for docent training sessions. The departmental files contain records of general departmental business such as reports, financial records, grant applications, general correspondence, monthly planners of the departmental schedule, thank you cards sent by school groups, and resumes from candidates for employment.

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.