Kraushaar Galleries records, 1877-2006

This series documents John Kraushaar's management of the galleries and the increasing involvement of Antoinette Kraushaar from the 1930s on. Kraushaar Galleries wrote regularly to Gifford Beal, Charles Demuth, William Glackens, Gaston Lachaise, Henry Schnakenberg, and John Sloan during these years, and the records document the galleries' faith in, and growing popularity of, these artists. Correspondence with Charles Prendergast documents the galleries' representation of work by Charles and his brother, Maurice, and letters to Edith Glackens record the galleries' continued representation of William Glackens following his death in 1938. John Kraushaar's letters to Guy Pène Du Bois record his commitment to the artist's work but also his exasperation with Du Bois's handling of his financial affairs. The increase in letters to a growing group of artists including Russell Cowles, William Dean Fausett, Vaughn Flannery, John Hartell, John Heliker, Boardman Robinson, and Esther Williams in the later portion of the series reflects the development of the galleries' commitment to American art.

John Kraushaar's letters to Preston Harrison provide insight into his artistic tastes, his sense of humor, and his pragmatic attitude toward art dealership. Kraushaar's letters to Duncan Phillips document the many transactions that took place between the two men as Phillips was developing his collection of American art in Washington, D.C.

Letters regarding loans and sales to prominent institutions and museums such as the Art Institute of Chicago, Carnegie Institute, Cleveland Museum of Art, Museum of Modern Art, and Whitney Museum of American Art indicate the caliber and importance of the galleries' inventory during a crucial period in the history of American art.

John Kraushaar's dealings in European art are documented most extensively in his correspondence with British art dealers Alex. Reid & Lefèvre, Ltd. and Ernest Brown and Co., French dealers Etienne Bignou, Paul Guillaume, and J. Allard, and the Dutch company Franz Buffa & Zonen. The Kraushaars also dealt extensively in European art with Ottawa dealer J. E. Northwood of James Wilson & Co. and in European and American art with Albert Roullier Art Galleries and Chester H. Johnson Galleries in Chicago, and Dalzell Hatfield Galleries in California.

Additional scattered outgoing correspondence dating from 1920-1945 may be found in Series 6.1.

Records in this series are arranged chronologically and alphabetically by correspondent.

This series contains letters written in response, or relation to, those in Series 1, and many of the significant correspondents in that series are also represented in Series 2. Of additional interest is the substantial correspondence from other artists including Joseph Barber, Gifford Beal, Reynolds Beal, Randall Davey, Walt Dehner, Charles Demuth, William Dean Fausett, Vaughn Flannery, Henry Keller, Richard Lahey, Charles Prendergast, Boardman Robinson, Iver Rose, Andrée Ruellan, Henry Schnakenberg, John Sloan, Katharine Sturgis, Esther Williams, and Mahonri Young. The series also contains regular letters from Guy Pène Du Bois, in Europe, that express personal feelings about his work and recurrent financial problems. Gaston Lachaise was also a regular correspondent who submitted frequent requests for financial assistance. After his death his work was handled by his wife, Isabel Nagle Lachaise, and the series documents the often difficult relations between Isabel Lachaise and Kraushaar Galleries. Letters from Edith and Ira Glackens demonstrate the mutual affection and respect between the Glackens family and the Kraushaars. The series contains only three short letters from Maurice Prendergast, with one describing his eagerness to exhibit at Kraushaar Galleries in December 1921, and three short letters from George Luks, which unfortunately supply little information about his work.

Correspondence with Gifford Beal, Reynolds Beal, Harriette Miller, Henry Schnakenberg, and Esther Williams illustrate the depth of the Kraushaar family's relationship with the Rockport art community, which extended beyond business to close personal friendships. Throughout the collection there is evidence that Antoinette Kraushaar continued a tradition of regular vacations to the area also enjoyed by her father.

The series contains substantial correspondence from Duncan Phillips. The descriptions of his enthusiasm for individual artists and specific pieces provide valuable documentation of his developing tastes. Regular and lengthy letters from Preston Harrison are full of lively information about the California art scene. Substantive correspondence with Elizabeth S. Navas begins in this series and documents the role that Kraushaar Galleries played in her goal to assemble the Roland P. Murdock Collection of the Wichita Art Museum under the terms of the will of Navas's friend, Louise Caldwell Murdock.

Additional incoming correspondence dating from 1901-1944 is found in Series 6.1.

Records are arranged chronologically and alphabetically by correspondent within each year. Nine folders of undated letters can be found at the beginning of the series. Letters from correspondents whose names are illegible or not recorded are also placed at the beginning of the appropriate year. Folders for "Miscellaneous Notes," "Bills," and "Receipts" are filed at the end of the year to which they relate.