Correspondence
name: label: Collection Creator
content: Pomerantz, Louis
setName: label: See more items in
content: Louis Pomerantz papers
physdesc: label: Extent
content: 3.6 Linear Feet (Boxes 1-4)
unitdate: label: Date
content: 1940s-1988
dataSource: label: Archival Repository
content: Archives of American Art
identifier: label: Identifier
content: AAA.pomeloui, Series 2
objectType: label: Type
content: Archival materials
arrangement: label: Arrangement
content: Records are arranged alphabetically by folder title, primarily by name but occasionally by subject such as "Early Career Correspondence." 5 folders of unsorted correspondence from the 1970s can be found filed under "U."
scopecontent: label: Scope and Contents
content: Primarily professional in nature, Pomerantz's correspondence is with friends and colleagues, museums and other art and educational institutions, and companies and corporations involved in the development of conservation tools and equipment.

Three folders of early career correspondence, primarily from the 1950s when Pomerantz was studying on the GI Bill, document Pomerantz's applications for jobs, apprenticeships, and work/study positions. They include correspondence with George Stout of the Worcester Art Museum, and Veterans Administration records.

The series includes six folders of correspondence with influential conservation scientist, Robert L. Feller, regarding technical issues and picture varnishes; seven folders of correspondence with forensic document examiner Linton Godown; three folders of correspondence with microscopy expert Walter C. McCrone; and correspondence with other art conservators including Anton J. Konrad, Russell J. Quandt, Bernard Rabin, Suzanne Sack, Nathan Stolow, Jean Volkmer, and Phoebe Dent Weil.

Also found is correspondence with companies including Eastman Kodak regarding radiography techniques; museums and other art institutions including the National Gallery of Canada, Philadelphia Museum of Art, Rijksmuseum, and Rosary College Graduate School of Fine Arts which operated a conservation program in Florence, Italy; and  scattered correspondence with artists such as Janice Lefton de Luigi. Correspondence with the Smithsonian's SITES and participating institutions documents the 1980s Know What You See touring exhibition.

Correspondence relating to Pomerantz's work for the Art Institute of Chicago can be found in Series 5: Project/Client Files.

The series contains 2 sound recordings of television broadcasts on 2 sound cassettes.