I've just returned from two months in Castine ,Maine (my original home),where my sister and I emptied our father's studio and sorted his vast amount of artwork into coherent collections.The property has sold and though he died 13 years ago and left the contents of the studio to me,(meaning tools and equipment),I had put off this arduous task until his widow,(my stepmother )expired.Her death caused a whole cascade of events which culminated in the sale of the property,a heart wrenching blow for my sister and I but not altogether unexpected.And my most gracious cousins bought the property so that was at least a mitigating effect.Still the incredible output of my father's long successful career as a sculptor was a vast and intimidating challenge to have to process.My worst fear was that I might somehow die without archiving this incredibly rich and beneficial instructional material for posterity.We identified 6 coherent collections;drawings, cartoons,photographs of his works,publications which contained either his sculptures or illustrations,65 filled sketchbooks ,1000 slides and a vast quantity of writings ,talks ,essays and letters.We worked for 2 months without a day off,all the while making a wing of his studio into a gallery to sell the 100 sculptures we inherited.This was my attempt to create "House of Fitz-Gerald"and give the monied summer folk and local townspeople who had personal relationships with my father an opportunity to purchase a piece of him.There were moments when we felt nearly overcome by the sheer quantity of material.But at each moment of near freak-out some ostensibly random piece of good fortune would land in our laps and reinvigorate our efforts and keep us aligned.So often did this happen in fact that we begin to record all the coups that literally saved our butts and kept our heads from exploding.I took nearly 100 photos every day from the sketchbooks,while also dealing with clients and collectors and spent each night editing the images.I contacted Colby College,Bates,Bowdoin,and other colleges where Clark's sculptures reside, even the Smithsonian,that has 38 of his pieces listed,trying to get them interested in continuing the archiving,but to no avail.We were coming to the end of our allotted time and were worried about storing all this stuff.It was then that we were approached by the Castine Historical Society who had heard of our travails and offered to share the burden.After touring their facility and meeting their most excellent and professional archivist,we knew they were the ones to take on the task.So we have donated the six collections to them and a most symbiotic relationship has been established where they hold all the materials ,but we still have access,retain all copyrights and also act as gate keepers to authorize who can view the material,do research and most importantly,how they intend to use it...