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Painting and Sculpture Department Records
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Held at: Philadelphia Museum of Art Archives [Contact Us]Philadelphia Museum of Art, PO Box 7646, Philadelphia, PA 19101-7646
This is a finding aid. It is a description of archival material held at the Philadelphia Museum of Art Archives. Unless otherwise noted, the materials described below are physically available in their reading room, and not digitally available through the web.
Overview and metadata sections
When the Painting and Sculpture Departments were allied, the Painting curators were Arthur Edwin Bye from 1922 to 1928, and Henry Clifford from 1929 to 1965, while the Sculpture curators were Horace H. F. Jayne and Francis H. Taylor from 1927-1930. Of special interest is Bye's bibliography and Clifford's participation with the American Committee for the Restoration of Italian Monuments.
Henry Gardiner was Assistant Curator in the Painting Department (under Henry Clifford) from 1960 to 1968. From 1968 to 1971 John L. Tancock was Associate Curator of Sculpture and there was no official Curator of Painting. In 1972 Anne d'Harnoncourt was named Associate Curator of Twentieth Century Painting and Joseph J. Rishel was Associate Curator of Painting before 1900. In 1973 the Department was split, with Anne d'Harnoncourt as Curator in the newly established Twentieth Century Art Department, and Joseph Rishel became the Curator of Painting in the new European Painting before 1900 Department. Peter Sutton came in 1979 as Assistant Curator, was named Associate Curator in 1982 and left in 1984 to join the Boston Museum of Fine Arts.
The records consist of departmental and exhibition records. The former is comprised of general correspondence and subject files. Documentation of exhibitions primarily consists of lender files, artist and object research files, photographs, draft catalogue writings and files of other subject peritinent to planning an exhibition, such as budget, labels and installation, travel, publicity, promotion and special events.
Currently, this record group documents the curatorial office during its years of operation as the Painting and Sculpture Department, and as the Department of European Painting before 1900, the title it assumed in 1974 and under which it continues to operate.
These materials were arranged and described by Alice Lefton, Bertha Adams, Megan Finn and Leslie O'Neill. Funded by a grant from The National Historical Publications and Records Commission.
Organization
- Publisher
- Philadelphia Museum of Art Archives
- Finding Aid Author
- Finding aid prepared by Alice Lefton, Bertha Adams, Megan Finn and Leslie O'Neill
- Finding Aid Date
- ©2011
- Sponsor
- Funded by a grant from The National Historical Publications and Records Commission
- Access Restrictions
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The collection is open for research. Access to institutional records less than 10 years old is at the discretion of the Archivist.
- Use Restrictions
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The Painting and Sculpture Department Records are the physical property of the Philadelphia Museum of Art, Archives. The Museum holds literary rights only for material created by Museum personnel or given to the Museum with such rights specifically assigned. For all other material, literary rights, including copyright, belong to the authors or their legal heirs and assigns. Researchers are responsible for obtaining permission from rights holders for publication and for other purposes where stated.
Collection Inventory
Included here is the correspondence of the Painting Department under Arthur Edwin Bye, arranged in two alphabetical sets.
Physical Description1.25 linear feet
Eight alphabetical sets: 1929-1932, 1933-1937, 1938-1939, 1940-1941, 1942, 1943-1944, 1945-1946, 1960s, of Henry Clifford's Painting Department correspondence.
Physical Description1 linear foot
The Sculpture correspondence of Francis Taylor is included here.
Physical Description2 folders
Most of this series consists of the correspondence files of Gardiner, Clifford, Tancock, and Rishel. There are also two subgroups of files arranged by subject and by exhibition. The "Subjects" subgroup includes records pertaining to loans, and "Exhibitions" lincludes shows that were proposed but rejected. Draft folder-level inventories for these two subgroups are available in the Archives.
Physical Description8.25 linear feet
These records were generated by Joseph Rishel and Peter Sutton and consist of general correspondence and subject files combined in one alphabetical arrangement. The exhibition records, filed under "E," pertain primarily to "possible" shows. Other documentation includes loans agreed to, refused, and cancelled, the Museum's Painting and Sculpture Committee, and the public program "Show and Tell." A second subgroup consists of records for a proposed, and later cancelled, exhibition of the 18th century French painter Jean Baptiste Oudry. A third subgroup pertains to several other exhibitions, including "Sports in Art" (1980), "Treasures of Ancient Nigeria," (1982) and a cancelled show featuring Lucas van Leyden. Folder-level inventories for the first and second subgroups are available in the Archives.
Physical Description9.5 linear feet
Most of this material consists of photographs, along with some correspondence and ephemera. It appears that art dealers were the primary source of this material offering objects for purchase to the curators. The files are identified by artist or by dealer and are roughly in alphabetical arrangement.
Physical Description6.5 linear feet
There are two subgroups to this series. The first consists of general correspondence and subject files combined in one alphabetical arrangement. The primary creators of these records are Joseph Rishel and Carl Strelkhe, and their files consist of general correspondence as well as specific activities such as lectures and travel. This subgroup also includes a significant number of folders pertaining to the John G. Johnson Collection and to a number of departmental volunteers. Some files include papers dating as early as 1980. The second subroup pertains to loans that were approved or considered possible as well as those refused or cancelled. Folder-level inventories of both subgroups are available in the Archives.
Physical Description15.5 linear feet
These records pertain to Museum publications that are collection, rather than exhibition, catalogues. The two publications documented here are " Northern European paintings in the Philadelphia Museum of Art: from the 16th through the 19th century," (c. 1990) written by Peter Sutton. Files for each catalogue entry make up the bulk of documetation to the latter publication. There are also correspondence folders and topical files such as finance and grant information, photography rights, publications, conservation and purchase requisitions. For documentation of "British painting in the Philadelphia Museum of Art: from the 17th through 19th century" (1986), which was another comprehensive survey of location-specific works in the permanent collections, please refer to "From the Collections: British Paintings" (1986-1987) in the exhibition records.
Painting and Sculpture Department Records / XI. Exhibition records / O. "From the Collections: British Paintings." Oct. 14, 1986-Jan. 18, 1987
Physical Description6.5 linear feet
Included here is material pertaining to the disposition of certain works of art in the Henry P. McIlhenny estate and to "Show and Tell" a public service program the Museum offered annually during the 1980s.
Physical Description1.25 linear feet
This series consists primarily of exhibition records (1989-1999), as well as departmental records (1985-1989). The exhibitions featured the collections of Charlotte Dorrance Wright (1989) and the Barnes Foundation (1995), and to individual artists such as Pisarro (1993), Cezanne (1996), Van Eyck (1998), and Delacroix (1998-1999). Other departmental activities documented include gallery reinstallations and its participation in "The Age of Rubens," a 1993-1994 catalogued exhibition organized by Boston's Museum of Fine Arts and curated by Peter Sutton, a former PMA associate curator.
Physical Description18 linear feet
In 1966 the Philadelphia Museum of Art, in cooperation with the Art Institute of Chicago, organized a comprehensive retrospective of works by Eduoard Manet. Comprising over 200 paintings and watercolors, the exhibition was the largest display of Manet's work since a Paris exhibition organized in memorium a year after his death in 1883. Due to the number of loans needed for the retrospective, the bulk of the exhibition records relate to loan forms and correspondence. The administrative files also include planning materials from the exhibition catalogue, publicity and attendance records, and documentation of a symposium that was held in conjunction with the exhibition.
Records are organized by loans, institutional correspondence, and administrative files.
The included files contain loan forms and letters between the Philadelphia Museum of Art and potential lenders. Information regarding insurance, packing, and shipping is also filed here.
Loan files are arranged alphabetically by subject.
Correspondence is arranged alphabetically by city.
Files are arranged alphabetically by subject.
Frederick Cummings and Allen Staley jointly organized an exhibition British romantic art for the Philadelphia Museum of Art and the Detroit Institute of Arts. The curators focused on the period between 1760 and 1860, beginning with works by Reynolds and Gainsborough and exploring the evolution of romantic art through the Pre-Raphaelites. Due to its focus on British art, the majority of exhibition records related to loan correspondence with international institutions and private collectors. These records also include administrative files related to preparing the exhibition catalogue, planning the installation and opening in Philadelphia, and shipping loans internationally.
Exhibition records are organized into correspondence files for institutions and individuals, which account for the bulk of the records, and administrative files.
The included files contain correspondence between the organizing institutions and potential lending institutions located worldwide.
Files are organized alphabetically by city with miscellaneous institutional correspondence appended at the rear.
The included files contain correspondence between the organizing institutions and private collectors who were identified as potential lenders.
Arranged alphabetically by last name.
The bulk of the administrative files pertain to packing and shipping works of art on loan to the organizing institutions, preparing the exhibition catalogue, organizing the opening at the Philadelphia Museum of Art, and documenting press and publicity following the opening.
Files are arranged alphabetically by subject.
This exhibition of gifts in honor of the Museum's centennial anniversary, installed by Assistant Director for Art Arnold H. Jolles and Curator of Medieval and Renaissance Decorative Arts David DuBon, ranged from European masterworks of painting to American furniture and decorative arts, as well as treasures from India and the Far East. Records maintained in the Painting and Sculpture Department relate to Joe Rishel's participation on the Centennial Committee and research regarding certain and potential gifts.
Files are arranged alphabetically by subject.
Joseph J. Rishel and Kathryn Bloom Hiesinger co-curated this exhibition in cooperation with the Detroit Institute of Arts and the Galeries Nationales du Grand Palais in Paris, France. The Museum brought together a variety of works created in France during the Second Empire, including paintings, scultpure, architectural elements, and decorative arts for the largest exhibition that had yet been organized. Administrative files, catalogue materials, loan documentation, and artist and subject files are included in the subseries. Because the department of European Decorative Arts after 1700 also participated in planning the exhibition, related records may be found in that record group as well.
Sub-subseries are maintained in the original order arranged by the Paintings and Sculpture Department.
European Decorative Arts after 1700 Department Records / I. Exhibition records / A. Second Empire: Art in France under Napoleon III
The administrative files pertain to the various aspects of planning and implementing the exhibition from initial research trips to installation and visitor services. Budget and funding materials are included here along with insurance and indemnification documentation and various contracts.
Files are arranged alphabetically by subject.
The making of the exhibition catalogue is documented here from its initial planning phases and early correspondence to final sales. The bulk of the materials pertain to artist files and drafts of individual entries and essays.
Files are arranged alphabetically by subject.
The bulk of these materials document objects lent to the museum from institution in France, across the United States, and in Europe. Correspondence regarding loan refusals, and problems encountered in transit are also included.
Files are arranged alphabetically by subject and hierarchically by location.
The bulk of these materials include black and white photographs of objects considered for the exhibition along with curator's notes and related research.
Files are arranged alphabetically by artist's last name.
These records include correspondence, object lists, photographs, and research organized by architecture, decorative arts, drawing, painting, photography, and sculpture. Conservation reports and internal correspondence are also included here.
Files are arranged alphabetically by subject.
This small-scale exhibition was arranged in the Director's Corridor during the winter of 1980. Selected works depicted olympic sports and related athletic activities as captured by artists from antiquity to the twentieth century. The exhibition opening coincided with the arrival of the Olympic flame in Philadelphia on February 3, 1980.
Joseph Rishel, curator of European Art, and Richard Ormond, deputy director of the National Portrait Gallery in London, organized a major exhibition of the works of Sir Edwin Landseer that sought to reveal the artists as a major figure in the romantic movment. The show relied upon generous loans from public and private collections throughout the United Kingdom, Europe, and North America; thus, the bulk of the exhibition records are comprised of lender files. Following its debut in Philadelphia, the exhibition also traveled to the Tate Gallery in London. Administrative files pertain to exhibition planning and execution among curatorial and support departments at the Philadelphia Museum of Art with a few folder dedicated to the later exhibition at the Tate Gallery. Correspondence and exhibition catalogue materials are also included in this subseries.
Sub-subseries are maintainted accordingly to the original order in which they were transferred to the Archives.
These files include budget and funding records; contracts, insurance, and indemnification documents; shipping and installation files; and publicity generated by the museum along with clippings reviewing the exhibition.
Files are arranged alphabetically by subject.
Correspondence files contain letters between lenders, curators, catalogue contributers, and the director of the Philadelphia Museum of Art.
Files are arranged alphabetically by last name with two folders of general fan mail and reference questions appended at the end.
Exhibition catalogue materials include serveral general files filled with planning and administrative documents, Joseph Rishel's research and contributions submitted for the catalogue, and photographs that were chosen for inclusion in the publication.
Files are arranged alphabetically by subject.
A variety of lender lists in this sub-subseries represent changes throughout the planning phase of the exhibition. Loan forms, loan letter drafts, and condition reports are located here, and individual lender files contain correspondence, loan forms, internal notes, and images of requested objects.
Files are arranged alphabetically by subject. Individual lender files are organized by country of origin according to the original departmental organization schema.
An exhibition of 100 objects in terracotta, bronze, ivory, and stone -- ranging in date from the fifth century BC to the nineteenth century AD -- was organized by Michael Kan, Deputy Director of African, Oceanic, and New World Cultures at the Detroit Institute of Arts in cooperation with Dr. Ekpo Eyo, Director of the Department of Antiquities, Nigeria. Peter Sutton, Assistant Curator of Painting before 1900, installed the exhibition when it traveled to the Philadelphia Museum of Art in 1982. The bulk of the exhibition records relate to the installation process, opening, press, and related programming along with a sizable set of catalogue photographs.
Files are arranged alphabetically by subject.
Peter Sutton, Associate Curator of European Painting, organized a review of the full range of Dutch painter Jan Steens work in this exhibition, comprised of 10 paintings from the permanent collection. In conjunction with the exhibition, Sutton and Marigene Butler co-authored "Jan Steen: Comedy and Admonition." Records include the original catalogue grant proposal and preparatory materials. Preliminary researc, photography requests, and correspondence are also included in this subseries.
Files are arranged alphabetically by subject.
Joseph Rishel, Curator of European Paintings before 1900, worked closely with the Barnes Foundation and several local private collectors to bring 45 works by Paul Cézanne to the Philadelphia Museum of Art. This exhibition, which celebrates the extensive collections of Philadelphia-area institutions and individuals, revealed the city as one of the most impressive gathering places of the Cézanne's work. Records in this subseries are broken down into local collections and administrative files. Local collections document works included or considered for inclusion in the exhibition, and administrative files pertain to exhibition planning and implementation.
The collections of Dorrance, Madeira, McIlhenny, and Rothberg were prominently featured in this exhibition along with contributions by Blackburn, Grace, Salz, De Schauensee, and Weber. Files contain correspondence, images, loan information, and research relating to individual works on loan. Additional files include a selection of refused loans from the Annenberg collection.
Files are primarily arranged alphabetically by lender with a folder listing prints help by the Philadelphia Museum of Art located at the front and a small group of refused loan files appended to the back.
The efforts of curatorial and support departments are documented here through records ranging from the initial planning phases (NEA grant, exhibition lists, and conservation) through to the final implementation of the exhibition (opening events, news clippings, deinstallation).
Files are arranged alphabetically by subject.
In 1984, the Philadelphia Museum of Art collaborated with the Gemäldegalerie, Staatliche Museen Preussischer Kulturbesitz of West Berlin, Germany and the Royal Academy of Arts in London, England to organize and exhibit an exhibition of 118 Dutch genre paintings. Peter Sutton, Associate Curator of European Paintings before 1900, installed the exhibition in Philadelphia and wrote the award-winning catalogue that accompanied the show. The majority of the works featured in this exhibition were lent to the Museum, and a large portion of these records relate to lending institutions and works on loan. Correspondence, lectures, and materials relating to the exhibition catalogue constitute another prominent aspect of the exhibition records along with research relating to individual artists. Administrative files pertain to all aspects of exhibition planning and implementation from the originating curatorial department and various support departments.
Due to the nature of this exhibition, institutions and private collectors throughout Europe and North America generously lent works by Dutch genre painters to the Philadelphia Museum of Art. Each file contains correspondence and loan agreements with institutions and individuals regarding one or several works on loan.
This sub-subseries begins with a list of loans from the John G. Johnson Collection, a list of directors of lending institutions, and set of lender files from the Philadelphia area. All other files are listed alphabetically by country of origin followed by the name of the lending institution or of the last name of an individual lender with related correspondence files appended at the end of the alphabetical run.
The museum published "Masters of Seventeenth-Century Dutch Genre Painting" in conjunctions with the exhibition. Contributors include Christopher Brown, Jan Kelch, Otto Naumann, and Bill Robinson with Peter Sutton listed as primary author. Files include drafts and final copies of essays, illustrations and photographs, acknowledgements, bibliographies, and biographies along with a separate file for each author.
Files are organized alphabetically by subject.
Correspondence files include letters to exhibition collaborators, catalogue contributors and translators, and various other individuals who helped with aspects of planning and implementation. There is a separate file for director's correspondence, president's correspondence, and internal memoranda between employees. Lecture files include transcripts of four lectures presented in conjunction with the exhibition.
Files are arranged alphabetically by subject.
The administrative files pertain to the various aspects of planning and implementing the exhibition from initial grant applications to the National Endowment for the Arts to opening events and publicity. Due to the nature of the exhibition and the number of loans on display, several files relate to indemnification, insurance, couriers, packing and shipping, and related expenses.
Files are arranged alphabetically by subject.
Each files is dedicated to an artist whose work was included in the exhibition and may contain biographies, original research, and images of the artist's work.
Files are arranged alphabetically by artist's last name.
These files contain information on artists and lending institutions whose works were considered, but ultimately not selected, for inclusion in the exhibition.
Files are arranged alphabetically by subject with artist files organized by last name and lender files organized by country of organization followed by the name of the institution.
J. M. W. Turner's paintings documenting the burning of the Houses of Parliament on October 16, 1834 were featured in an exhibition organized by the Cleveland Museum of Art in association with the Philadelphia Museum of Art to commemorate the 150th anniversary of the fire. The bulk of the exhibition records include images documenting the works on display and gallery installations. A general file also includes correspondence, planning, and research.
Joseph J. Rishel, Curator of European Painting before 1900, selected some 35 paintings, watercolors, drawings, and sculptures from the Museum's holdings and private lenders in the Philadelphia area for an exhibition featuring local holdings of the artist's work. The bulk of these records relate to loans, photograph requests, and purchase requisitions. Exhibition planning records are comprised of preparatory materials for the Museum Bulletin, correspondence, exhibition lists, installation information, and labels. Administrative information, such as budget, opening events, and public relations are also included.
Files are arranged alphabetically by subject.
Mary Cassatt, Philadelphia-born artist, was the only American ever invited to exhibit with the French Impressionists. Eventually, she settled in Paris, but Philadelphia remains the largest repository of her work, and she played a pivotal role in encouraging Philadelphia-area collectors to acquire Impressionist paintings despite the critical attitudes taken by her contemporaries. Suzanne G. Lindsay, a guest curator and specialist in 19th-century art, organized the exhibition selected 52 paintings, drawings, and prints for display, each chosen to emphasize the artist's connections with the city that she considered her American home. This subseries includes loan files and records relating to the planning and implementation of an exhibition that explored Cassatt's relationship with the city of Philadelphia.
This subseries is broken into two sub-subseries according to the order in which records were originally received from the curatorial department. Loans are arranged first, followed by a more general sub-subseries of administrative files.
A number of individuals and institutions lent works by Cassatt for this exhibition. In addition to lender files, there are also drafts of loan letters and list of potential loan candidates that were never location or not pursued.
Files are arranged alphabetically by name and subject with files of lenders who wished to remain anonymous appended at the end.
Originally labeled as correspondence files, this sub-subseries includes all records relating to planning and implementing the exhibition at the administrative level. In addition to correspondence, other materials include budget and funding records, catalogue materials, exhibition lists and labels, installation documentation, and publicity.
Files are arranged alphabetically by subject.
Benjamin West (1738-1820) was the first American artist to win international acclaim. This exhibition of 37 paintings and 50 drawings served as a comprehensive survey of his career and included two of the earliest known portraits by West, painted in his native Pennsylvania, a version of his first historical commission in England, and one of his best-known history paintings, William Penn's Treaty with the Indians. Darrel L. Sewell, the Robert L. McNeil Curator of American Art; Joseph J. Rishel; and Ann Percy, Curator of Drawings collaborated to organize this exhibition in celebration of the publication by Yale University Press of the catalogue "Paintings of Benjamin West", by Helmut von Erffa and Allen Staley. Records in this subseries pertain to the catalogue, loans, and a related symposium. Correspondence, exhibition lists, and administrative materials are also included.
Files arranged alphabetically by subject.
To complementthe publication of Richard Dorent's comprehensive catalogue, "British Painting in the Philadelphia Museum of Art from the Seventeenth Through the Nineteenth Century," Joseph Rishel organized an exhibition of representative paintings selected from the permanent collections and described within the pages of Dorent's book. This subseries is divided into artist files, object files, and catalogue and correspondence files.
Files are maintained in the order in which they were transferred from the originating department.
Painting and Sculpture Department Records / VIII. Publications
A separate file was created for each artist represented in the collection that includes images, research notes, and entry drafts.
Files are arranged alphabetically by last name.
For works by unknown artists, object files were created and organized seperately. Folders primarily contain images, research notes, and entry drafts.
Files are arranged in a numerical order supplied by the curatorial department.
Richard Dorment compiled " British Painting in the Philadelphia Museum of Art from the Seventeenth Through the Nineteenth Century," a major catalogue surveying works from the permanent collections. Records include correspondence files, documentation of the publication reception and the complementary exhibition in Philadelphia, and grant-related materials from the John Paul Getty Foundation and the National Endowment for the Arts.
Files are arranged alphabetically by subject with correspondence files divided chronologically.
By bringing together works from the permanent collection at the Philadelphia Museum of Art combined with paintings from private collections in the Philadelphia Area, Joseph J. Rishel curated an exhibition exploring Claude Monet's prominence and popularity in the Philadelphia area. The bulk of the records in this subseries are lender files along with exhibition lists, installation materials, and news releases.
Files are arranged alphabetically by subject.
Henry P. McIlhenny, former Curator of Decorative Arts and Chairman of the Board of Trustees, was an avid art collector who bequeather the entirety of his collection to the Philadelphia Museum of Art upon his death in 1986. Joseph Rishel, Curator of European Painting before 1900, organized this exhibition of McIlhenny's collection in conjunction with the Director and the curatorial staff. The bulk of the exhibition records in this subseries pertain to the accompanying publication, "The Henry P. McIlhenny Collection: An Illustrated History," which was written by Joseph Rishel with the assistance of Alice Lefton. Additional materials include conservation records, installation documentation, photography, opening events, and publicty. Label copy is included for both this exhibition and "Henry P. McIlhenny: Photographs by Gloria Braggiotti Etting," a corresponding exhibition of photographs by an artist and personal friend of McIlhenny.
Files are arranged alphabetically by subject.
Peter Sutton and Joseph J. Rishel brought together some 100 master paintings from public and private collections in eleven countries for an exhibition of Dutch naturalisting landscape painting of the seventeenth century that first opened at the Rijksmuseum in Amsterdam and later traveled to the Museum of Fine Arts, Boston before closing at the Philadelphia Museum of Art. Contents include budget and funding, exhibition lists, loan records and insurance/indemnification, correspondence, installation documentation, publicity, and records relating to a symposium held in conjunction with the exhibition.
Files are arranged alphabetically by subject.
Joseph Rishel organized a traveling exhibition of the Philadelphia Museum of Art's Charlotte Dorrance Wright Collection that was exhibited at the Society of the Four Arts in Palm Beach, Florida in the spring of 1989 and the State Museum of Pennsylvania in Harrisburg during the fall of that year. While this collection traveled, the Museum hosted an exhibition of some Impressionist paintings from the John T. Dorrance collection. Sotheby's organized the exhibition to attract potential buyers in the weeks preceding an auction that included 43 works from the Dorrance collection. Materials from both exhibitions are collocated in this subseries and include correspondence, checklists and contracts along with records from support departments regarding conservation, loans, and marketing.
Files are arranged alphabetically with records pertaining to the John T. Dorrance collection appended after those relating to the Charlotte Dorrance Wright collection.
The private collection of Mr. and Mrs. Walter H. Annenberg had its first public showing during this exhibition at the Philadelphia Museum of Art. The exhibition provided a comprehensive survey ofhe leading artists of Impressionism and Post-Impressionism. Following its debut in Philadelphia, the show then traveled to the National Gallery of Art in Washington, D.C., the Los Angeles County Museum of Art, and the Metropolitan Museum of Art. This subseries begins with administrative files documenting the exhibition planning and implementation, but the bulk of the contents in this subseries pertain to works by individual artists featured in this exhibition and curatorial research.
Administrative files, artist files, and research files are arranged in the orignial order maintained in the curatorial department.
The administrative files pertain to the various aspects of planning and implementing the exhibition from initial budget planning to opening events. Contents in this subseries include correspondence, exhibition lists, label copy and installation documentation, publicity, and symposium materials. Records of support department activities are included for Conservation, the Registrar, and Rights and Reproduction.
Files are arranged alphabetically by subject.
Each file contains citations, descriptions, entry drafts, and photographic reproductions for a particular work of art in the Annenberg collection. Several works have files with complementary information in the research sub-subseries.
Files are arranged alphabetically by artist's last name.