Incoming Letters
name: label: Collection Creator
content: Kraushaar Galleries
setName: label: See more items in
content: Kraushaar Galleries records
physdesc: label: Extent
content: 16.25 Linear Feet (Boxes 10-26)
unitdate: label: Date
content: 1901-1944, undated
dataSource: label: Archival Repository
content: Archives of American Art
identifier: label: Identifier
content: AAA.kraugall, Series 2
objectType: label: Type
content: Archival materials
arrangement: label: Arrangement note
content: 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.
scopecontent: label: Scope and Contents note
content: 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.