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	Title:	Subject:	Description:

1.	Curatorial Office Records of Alexis Goodin,	Sterling and Francine Clark Art Institute Williamstown (Mass) Art museums; Art museum curators	Alexis Goodin, a 1998 graduate of the Williams Graduate Program in the History of Art, worked as an assistant curator at the Clark after her graduation. These records span the years 1998 through 2001 and are primarily copies of documents containing information generated by the Curatorial department concerning loans, acquisitions, conservation, and exhibition planning. Goodin most notably worked on the 2000 exhibition,

2.	Curatorial Office Records of Charles Cunningham	Williamstown (Mass.) Art museum curators; Art museum directors; Art museums; Art museums -- Exhibitions...	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 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, grades, assignments, and correspondence with students from several courses taught by Cunningham; CAI memoranda; and financial records about costs of exhibits and loans.

3.	Records of Edwin Alfred Grenville Manton	Manton, Edwin Alfred Grenville; Salander, Lawrence B.; Parris, Leslie; Serota, Nicholas.; Thomson, David...	Born January 22 1909 in Essex, England, 20 miles from Constable's birth place, Edwin "Jim" / "Jimmy" Alfred Grenville Manton grew up and was educated in Britain. In 1933 he joined the fledgling American International Underwriter group in New York as a casualty underwriter. He rose through the company to become Vice President in 1938, President between 1942 and 1969, Chairman between 1969 and 1975 and Senior Advisor from 1975 until his death in October 2005. He was a lifelong collector of British art, notably Constable. In 1988 he established the American Fund for the Tate Gallery with an endowment of $6.5 million. He made further gifts in 1992 and 1997, totaling tens of millions of dollars, towards the centenary development and other projects at Tate Britain. He was knighted in 1994. In June 2007 the Manton Foundation donated a significant collection of British paintings, oil sketches, watercolors, and other works on paper by J.M.W. Turner, John Constable, and Thomas Gainsborough to the Sterling and Francine Clark Art Institute. The Foundation also contributed $50 million to endow the Clark's Research and Academic Program. This series contains records relating to objects which do not belong to that gift to the Clark; much of the content is correspondence of one sort or another. This series is a small subsection of Manton's extant records and since the content was drawn from a larger collection of documents and was compiled and assembled in piecemeal fashion, the materials are loosely arranged. Some folders contain clusters of correspondence with an individual or institution or refer to an object. The records include: correspondence with art dealers, especially Oscar and Peter Johnson, Ackerman and Johnson, Leger Galleries, Spink and Sons, Spink-Leger, Salander-O'Reilly Galleries; correspondence with art historians, notably Leslie Parris who worked with and for Manton to produce a catalogue of Manton's Constable collection; correspondence with other people involved with the project to produce a catalogue of Manton's Constable collection; correspondence (a few letters) with Sir Nicholas Serota and other officials and directors at the (then) Tate Gallery; correspondence with several national art galleries about potential loans for public art exhibitions (Yale Center for British Art, National Gallery, London, National Gallery, Washington); color slides and photographs of objects which, for the most part, Manton decided not to purchase; invoices and receipts from art dealers for objects which Manton purchased; correspondence with the Art Loss Register and Kroll Associates, a private investigation company which attempted to recover Manton's lost art; correspondence with security consultants and insurers; letters of thanks which Manton received from the recipients of his Constable catalogue; page proofs for the Constable catalogue; page proofs from the Constable supplement catalogue; newspapers and newspaper clippings relating to Constable and his work and to repatriated works of art taken by the Nazis; AIG brochures; records of art works for insurance purposes; correspondence with the Salmagundi Club concerning an exhibit of John Constable works belonging to Manton.

4.	Records and Papers of David Brooke, Director, 1977-1996	Brooke, David S.; Hunter, Sam, 1923-; Roeper, Susan, 1957-; Clemens, Paul Lewis, 1911-1992; Bouguereau,...	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; 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.

5.	Visitors Registers	Sterling and Francine Clark Art Institute; Art museums; Williamstown, MA; Registers (Lists)	In this series are five identical bound red books embossed with the words, Visitors Register. Each book measures 11 inches wide, 8 ½ 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.

6.	Letter from Karl Weston to S. Lane Faison	Faison, S. Lane (Samson Lane), 1907-2006; Weston, Karl Ephraim, b. 1874; Brooke, David S.; Williams College....	Karl Weston was founder and director of the Williams College Museum of Art and taught art history at the college for many years. S. Lane Faison, a former student of Weston's, also taught art history at Williams and, in 1948, became director of WCMA. Both were involved in facilitating the founding of the Sterling and Francine Clark Art Institute in Williamstown. The Clark's first exhibition, an exhibition of silver of the 16th, 17th, 18th and 19th Centuries, took place May 13-May 27, 1951 in Lawrence Hall at Williams College since the Clark's museum building was not yet complete. Weston's letter contains a description of the opening gala and of Clark's collections and expresses immense enthusiasm for the museum. In addition to the letter, there is a note from Faison to David S. Brooke dated 1982 suggesting that the letter belongs at the Clark.

7.	Curatorial Office Records of Lisa A. Jolin	Jolin, Lisa A.; Kern, Steven, 1958-; Fernandez, Rafael, 1927-; McSweeny, Mary Ann; Gado, Anna; Sterling...	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.

8.	Director's Office Early Financial Records	Sterling and Francine Clark Art Institute; George A. Fuller Company; Art museums; Williamstown (Mass.);...	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.

9.	Media Services Digital and Analog Sound and Video Recordings	Clark, Robert Sterling, 1877-1956; Clark, Francine, d. 1960; Brooks, John H.; Brooke, David S.; Guille,...	Sound and visual recordings related to the Clark are collected in this series. The earliest recordings are copies of newsreels relating to the 1954 Epsom Derby and St. Leger, both of which were won by Robert Sterling Clark's horse, Never Say Die. This series is a catch all for any sound and video recordings produced by the Clark but not related to a specific exhibition or event for which there are additional records.

10.	Clark Prize for Excellence in Arts Writing Records,	Sterling and Francine Clark Art Institute Williamstown (Mass.) Awards; Art museums; Art criticism	The Clark Prize for Excellence in Arts Writing celebrates informed, insightful, and accessible prose that advances the public understanding and appreciation of the visual arts. Recipients of the Clark Prize are distinguished for critical or historical writing that conveys complex ideas in a manner that is grounded in scholarship yet appealing to a diverse range of audiences. Currently this collection consists of one object, an uninscribed archival copy of the award itself. Designed by Japanese architect Tadao Ando, the object is made of acrylic and etched with the following, "The Clark Prize for Excellence in Arts Writing Award designed by Tadao Ando."

11.	Research and Academic Program Event Records	Holly, Michael Ann; Ledbury, Mark (Andrew Mark); Sterling and Francine Clark Art Museum; Association...	The Clark's Research and Academic Program organizes a number of different types of scholarly programming. Colloquia are small, semi-private gatherings of researchers for the purpose of discussing topics of mutual interest. Clark / Getty workshops take place twice yearly and explore contemporary cultural concerns and their effects on the practice of art history. Symposia bring together scholars and other experts to discuss a topic, theme, or artist's work in the context of international panels and debate within a public forum. Conferences provide a larger scale international forum for the discussion of issues raised by the study, presentation, and exploration of art. Papers presented at Clark conferences are published by Yale University Press in the Clark Studies in the Visual Arts series. Conferences and symposia are public events, while colloquia are closed and by invitation only. RAP Director Michael Ann Holly served as chair and treasurer of The Association of Research Institutes in Art History (ARIAH) from 2001 through 2006 and some records relating to her service are also included in this series.

12.	Director's Office Records	Abbott, Stuart; Asher, Martha; Bancroft, Harding F. (Harding Foster), 1910-; Banks, Talcott; Bareiss,...	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 labeled with subjects such as; The following is a list of frequently occurring subjects and correspondents:

13.	Director's Office Records of Exhibitions	Brooke, David S.; Avery, Milton, 1885-1965; Kennedy, Clarence; Sterling and Francine Clark Art Institute;...	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.

14.	Director's Office Records of Loan Requests	Brooke, David S.; Conforti, Michael, 1952-; Sterling and Francine Clark Art Institute; Art museums; Art...	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.

15.	CEVA Docent Summer School Records ,	Sterling and Francine Clark Art Institute Education--Museums	The Docent Summer School is a component of the Center for Education in the Visual Arts. Museum docents from around the country come to the Clark to learn how to engage audiences and deliver arts education. These records include materials given to participants and other items related to the administration of the program. Originally run by the Education department, CEVA was created in 2007 to handle this and other educational initiatives.

16.	Library Exchange Program Records	Sterling and Francine Clark Art Institute. Library; Art museums; Williamstown (Mass.); Correspondence;...	The library of the Sterling and Francine Clark Art Institute exchanges museum publications, on a reciprocal basis, with 130 domestic and international peer institutions. These records relate to organizations whose agreements have terminated. The files contain a history of publications sent, acknowledgments, and sundry correspondence.

17.	Library Collection of Study Photographs and Clippings	Juynboll, Willem Rudolf, 1903-; Hamilton, George Heard; Duveen Brothers; Brooke, David S.; Mellon, Paul;...	The Library's collection of study photographs and clippings contains reference photographs and clippings of art objects from a vast array of geographic locations. The collection contains photographs and clippings of sculpture, decorative arts, architecture (locations), and paintings/drawings/prints in the following geographic categories: American, British, French, German, Italian, the Low Countries, Scandinavian, Spanish, Swiss, Miscellaneous European/Western tradition, Egyptian, Ancient Civilization, Byzantine, African, Pre-Columbian American Art, Prehistoric, Near East, Far East, and Oceania. This collection began with the purchase of Willem Rudolf Juynboll's clippings collection, but was augmented in many ways and from several sources. Other major sources of material include the Duveen Collection, purchases from the Courtauld Institute, and an Alinari subscription. The collection also includes material from independent photographers and clippings from auction catalogues collected by Clark staff members.; Abbreviations within the collection stand for the Following:

18.	Public Programs Committee Meeting Notes	Sterling and Francine Clark Art Institute; Art museums; Williamstown (Mass.); Minutes	The Public Program Committee meets monthly to identify and develop a range of offerings to engage the Clark's audience, develop new audience, and further the institute's mission. These are the Committee's meeting notes.

19.	Office of Publications Book Files	Carpenter, Mary Jo; McSweeny, Mary Ann; Buckley, Rosalie; Simpson, Fronia W.; Ivinski, Patricia R., 1965-;...	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

20.	Curatorial Office Records of Steven Kern	Kern, Steven, 1958-; Harwood, Laurie B.; Sterling and Francine Clark Art Institute; Art museums; Art...	The records of Steven 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.

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