Kraushaar Galleries records, 1901-1968, bulk 1926-1968.


Kraushaar Galleries records, 1901-1968, bulk 1926-1968.

The records of the Kraushaar Galleries comprise 53.5 linear feet of records from 1901 to 1968, with the bulk of the material dating from 1926 to 1968. The collection consists primarily of correspondence between John and Antoinette Kraushaar and the artists whom they represented or whose work they handled, private collectors, galleries, museums, and other art institutions in the United States, South America, Canada, and Europe. The collection also contains exhibition catalogs, artwork, photographs of artwork, financial and insurance records, receipts, and miscellaneous notes. An unprocessed addition of 37.2 linear feet includes business correspondence with artists and galleries; financial and business records documenting sales and purchases; consignment and loan records; a 1933 sketchbook by James Penney and drawings, sketches, and 4 sketchbooks by Louis Bouche. Also included are miscellaneous artist files and photographs of works of art including 3 albums of photographs taken by Peter A. Juley. The collection reflects all activities conducted in the day-to-day operation of the business and relates to the acquisition, loan, sale, and exhibition of art by twentieth century American artists and European artists of the nineteenth and early twentieth centuries. The records document specific arrangements for loans and exhibitions, artist-dealer relations, relationships with public and private collectors, interaction with art dealers, and routine requests for information. Much of the artist correspondence relates to practical arrangements for exhibitions of artwork, but in many cases also documents the development of individual artists and the effect of their relationship with the galleries on their ability to produce marketable work. Many of the artists represented in the collection also wrote lengthy letters, particularly to Antoinette Kraushaar, describing their attitudes to their work and providing insight into how that work was shaped by events in their personal lives. The bulk of the correspondence with museums and institutions concerns practical arrangements for loans of artwork and provides detailed information about market prices and insurance values. It offers insight into the general climate of opinion toward particular artists and styles at any given time. Correspondence with other galleries and dealers also concerns loans and sales of artwork but, due to the typically cordial and cooperative nature of relations between the Kraushaars and their contemporaries, may also provide a more extensive and personal view of relationships and trends in the art dealer community. Similarly, while a portion of the correspondence with private collectors concerns routine requests for information and loans of art on approval, there is also substantive correspondence documenting the development of the artistic vision of collectors such as Preston Harrison, Elizabeth S. Navas, and Duncan Phillips. From 1917 to the mid-1930s correspondence was handled mainly by John Kraushaar, and the bulk of that relating to European galleries and European art can be found during these years. Although there is very little material before 1926, records from the 1920s and 1930s document Kraushaar Galleries' growing commitment to American artists and the climate of the market for their work. The financial hardships of the Depression are vividly depicted in the numerous letters written during the 1930s seeking payment on accounts receivable and requesting extensions on accounts payable. From the mid-1930s to 1968 correspondence was conducted primarily by Antoinette Kraushaar and, to some degree, by her assistants in later years. As the galleries' focus on American art increased, so did the volume of correspondence with artists, and the collection is particularly rich during the 1940s and early 1960s. The exhibition catalogs included in the collection do not represent a complete set. Those found are working copies used by the galleries in preparation for exhibitions and are often annotated with prices or insurance values. Additional exhibition catalogs can be found on the microfilm described in the Administrative Information section of this finding aid. The majority of Kraushaar Galleries' insurance records can be found in files relating to the company Wm. E. Goodridge & Son, later known as Wm. E. Goodridge, Inc. Shipping and transportation records are generally filed under the names of the companies used for such transactions and can primarily be found under Davies, Turner & Co., Hudson Forwarding & Shipping Co., Railway Express Agency, Inc., and W. S. Budworth & Son, and to a lesser degree under American Railway Express Company, Arthur Lenars & Cie., C. B. Richard & Co., De La Rancheraye & Co., Hayes Storage, Packing & Removal Service, Inc., and Willis, Faber & Co. Ltd.

90.7 linear ft.


SNAC Resource ID: 8142763

Archives of American Art

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