Correspondence
name: label: Collection Creator
content: Kraushaar Galleries
setName: label: See more items in
content: Kraushaar Galleries records
physdesc: label: Extent
content: 27.75 Linear Feet (Boxes 26-53)
unitdate: label: Date
content: 1945-1968
dataSource: label: Archival Repository
content: Archives of American Art
identifier: label: Identifier
content: AAA.kraugall, Series 3
objectType: label: Type
content: Archival materials
arrangement: label: Arrangement note
content: Records are arranged chronologically and alphabetically by correspondent within each year; folders for "Miscellaneous Notes," "Bills," and "Receipts" are filed at the end of the year to which they relate. A group of records dated 1950 to 1951, to and from various correspondents concerning loans for a William Sommer exhibition at Kraushaar Galleries in 1951, are filed at the end of 1950. Records for 1965 were not transferred to the Archives of American Art, with the exception of several pieces of correspondence. Similarly, there are very few letters from 1968.
scopecontent: label: Scope and Contents note
content: This series, which documents the operation of the gallery from 1945 to 1968, is the largest in the collection and rich in artist correspondence. In addition to correspondence with the artists mentioned in the description for Series 2, substantial correspondence with Humbert Albrizio, Bernard Arnest, Peggy Bacon, Louis Bouché, Leonard DeLonga, Kenneth Evett, Ernst Halberstadt, Tom Hardy, John Hartell, John Heliker, Robert Laurent, James Lechay, Carl Morris, James Penney, and Vernon Smith can be found here.

Correspondence with Eugenie Prendergast, following the death of Charles Prendergast in 1948, documents the galleries' continued commitment to the work of the Prendergast brothers and Eugenie Prendergast's decision to end the business relationship with Kraushaar Galleries around 1961. Substantial correspondence with Ira Glackens after the death of Edith in 1955 documents the galleries' continued representation of work by William Glackens. William Dean Fausett and Vaughn Flannery were both prolific correspondents throughout the 1940s, and their letters provide details concerning many aspects of their work. The Kraushaars' long and happy association with John Sloan also continues to be documented here, up to and beyond Sloan's death in 1951. Correspondence from 1947 records Guy Pène Du Bois's decision to seek another dealer, but that the split was reasonably amicable is evinced by Antoinette Kraushaar's continued contact with the family through Du Bois's daughter and artist in her own right, Yvonne.

The series documents some strong and mutually beneficial relations between Kraushaar Galleries and various art institutions and the individuals responsible for developing their collections. In addition to the institutions mentioned in the description for Series 1, institutions and individuals that are particularly well represented include the Toledo Museum of Art, Frederick Dwight Kirsch and the University of Nebraska Art Department, Alix W. Stanley and the New Britain Institute, and Ralph L. Wilson and Lehigh University.

To retain context, there is occasionally some slight overlap between years in cases where a letter from the end of one year was originally filed with one from the beginning of the next. Considerable interfiling of papers with acid-free paper was required in this series as many of the outgoing letters are printed on highly acidic paper. To reduce the bulk that this precaution added to the collection, outgoing letters to a single correspondent were often grouped together; hence strict chronological order has not been retained.

Additional correspondence dating from 1945-1968 is found in Series 6.1.