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Creator:
Kraushaar Galleries  Search this
Names:
Art Institute of Chicago  Search this
Carnegie Institute  Search this
Cleveland Museum of Art  Search this
Ernest Brown and Co.  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New Britain Institute. Art Museum  Search this
Toledo Museum of Art  Search this
University of Nebraska--Lincoln. Department of Art  Search this
Whitney Museum of American Art  Search this
Wichita Art Museum  Search this
Albrizio, Humbert, 1901-1970  Search this
Allard, J.  Search this
Arnest, Bernard, 1917-  Search this
Bacon, Peggy, 1895-1987  Search this
Beal, Gifford, 1879-1956  Search this
Beal, Reynolds, 1866-1951  Search this
Bignou, Etienne  Search this
Bouché, Louis, 1896-1969  Search this
Brueming, Karen  Search this
Cantene, David  Search this
Cowles, Russell, 1887-1979  Search this
DeLonga, Leonard  Search this
Demuth, Charles, 1883-1935  Search this
Evett, Kenneth Warnock, 1913-  Search this
Fausett, Dean, 1913-  Search this
Flannery, Vaughn  Search this
Glackens, Edith  Search this
Glackens, William J., 1870-1938  Search this
Guillaume, Paul, 1891-1934  Search this
Halberstadt, Ernst, 1910-1987  Search this
Hardy, Thomas, 1921-  Search this
Harrison, Preston  Search this
Hartell, John  Search this
Heliker, John, 1909-2000  Search this
Juley, Peter A., 1862-1937  Search this
Kirsch, Frederick D. (Frederick Dwight), b. 1899  Search this
Kraushaar, Antoinette M., 1902-1992  Search this
Kraushaar, John F., 1871-1946  Search this
Kuhn, Walt, 1877-1949  Search this
Lachaise, Gaston, 1882-1935  Search this
Lasker, Joe  Search this
Laurent, Robert, 1890-1970  Search this
Lechay, James  Search this
Luks, George Benjamin, 1867-1933  Search this
Miller, Harriette  Search this
Morris, Carl, 1911-1993  Search this
Murdock, Roland P. -- Art collections  Search this
Navas, Elizabeth S., 1885-1979  Search this
Penney, James, 1910-1982  Search this
Phillips, Duncan, 1886-1966  Search this
Prendergast, Charles, 1863-1948  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Robinson, Boardman, 1876-1952  Search this
Ruellan, Andrée, 1905-2006  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Sloan, John, 1871-1951  Search this
Smalley, David, 1940-  Search this
Smith, Vernon, 1894-1969  Search this
Stanley, Alix W.  Search this
Williams, Esther, 1907-1969  Search this
Wilson, Ralph L.  Search this
Extent:
91.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Drawings
Exhibition catalogs
Financial records
Notes
Sketchbooks
Date:
1877-2006
Summary:
The records of New York City Kraushaar Galleries measure 91.9 linear feet and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.
Scope and Content Note:
The records of New York City Kraushaar Galleries measure 91.9 linear feet and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks. The collection reflects all activities conducted in the day-to-day administration of the business and relates to the acquisition, consignment, 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 the art dealer community, 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 are only a handful of materials 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. In later years to 2006, most of the correspondence was conducted by Carol Pesner and gallery assistants. 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. The 2008-2009 accretion includes additional correspondence similar in content and with correspondents as described above, as well as some artists' Christmas cards. However, the bulk of the additional correspondence dates from 1965-2006, with a handful of miscellaneous correspondence from 1877 to the mid-twentieth century. Also found are financial and business records including records from the closing of the John F. Kraushaar estate; over 40 ledgers providing nearly complete documentation of the gallery's sales and transactions from its establishment to 1946; incoming consignment records, including account statements and correspondence with artists, from the 1940s to 2006; and outgoing consignment and loan records from 1899-2006. The gallery's representation of its stable of artists is documented through artists' files containing printed materials, exhibition catalogs and announcements, price lists, and biographical information, as well as containers of photographs and negatives of artwork. Also found is a 1933 sketchbook by James Penney, drawings and sketchbooks by Louis Bouché, and two scrapbooks. See Appendix for a list of Kraushaar Galleries exhibitions
Arrangement:
Kraushaar Galleries generally filed all types of records together with correspondence in a combination of alphabetical and chronological files. Thus financial records, insurance records, receipts, photographs, and exhibition catalogs can be found interfiled with general correspondence in Series 1-3. A group of photographs of artwork maintained separately by Kraushaar Galleries constitutes Series 4. Series 6 was minimally processed separately from Series 1-5, and the arrangement reflects the original order of the addition for the most part. Records in Series 1-3 were originally filed alphabetically by name of correspondent and then by month, by a span of several months, or by year. The alphabetical arrangement has been retained, but to facilitate access the collection was rearranged so that correspondence was collated by year. From 1901 to 1944 outgoing letters and incoming letters are filed separately; in 1945 some outgoing letters are filed separately, with the bulk of the material filed together as correspondence; from 1946 to 1968 incoming and outgoing letters are filed together as correspondence. For Series 1-3 organizations or individuals represented by at least 15 letters are filed in separate file folders. All other correspondents are arranged in general files by letters of the alphabet, with selected correspondents and subjects noted in parentheses after the folder title. Series 2 and several boxes in Series 3 contain a variety of notes and receipts received and created by Kraushaar Galleries that were originally unfoldered. The notes can be found in folders adjacent to the receipts and include handwritten notes of customer names and addresses, financial notes and calculations, catalogs of exhibitions, invitations and announcements to exhibitions frequently used as note paper, and other miscellany. Although most of the miscellaneous notes are undated, they are filed, with the receipts, at the end of the year to which they appear to relate. For the years 1929 and 1930 Kraushaar Galleries created separate alphabetical files for some of the billing statements received from other businesses. These have been filed adjacent to "Miscellaneous Notes" and "Receipts" in the appropriate years. Kraushaar Galleries tended to file correspondence with businesses alphabetically according to the letter of the last name: for example, Wm. E. Goodridge & Son would be filed under G rather than W. Series 1: Outgoing Letters, 1920-1945 (boxes 1-9; 9 linear ft.) Series 2: Incoming Letters (boxes 10-26; 16.25 linear ft.) Series 3: Correspondence, 1945-1968 (boxes 26-53; 27.75 linear ft.) Series 4: Photographs, undated (box 54; 0.5 linear ft.) Series 5: Artwork, [1926, 1938] (box 53; 2 items) Series 6: Addition to the Kraushaar Galleries Records, 1877-2006 (boxes 55-99, BV100; 38.4 linear feet)
Historical Note:
Charles W. Kraushaar established Kraushaar Galleries in 1885 as a small store on Broadway near Thirty-first Street in New York City. Initially the store sold artist materials, photogravures, and reproductions. Drawing on his previous experience working with William Schause, a leading dealer in European paintings, Kraushaar soon progressed to selling original watercolors, paintings, and engravings by European artists, primarily landscapes of the Barbizon School. In 1901 Kraushaar moved the business to 260 Fifth Avenue and with the assistance of his brother, John F. Kraushaar, began adding more modern French and American painters to the inventory. Of particular interest to John Kraushaar was the group of American realists known as "The Eight," who had held a self-selected, self-organized exhibition at the Macbeth Gallery in 1908. The Eight were Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. Luks, whom John Kraushaar met around 1902, was probably the first major American artist represented at Kraushaar Galleries. In 1917 John Sloan was invited to hold his first one-person show at the galleries despite accusations that his exhibition at the Whitney Studio the previous year had represented a brutal depiction of life that lacked subtlety and sensitivity. When Charles Kraushaar died suddenly in 1917, John assumed control of the galleries and soon enlisted the assistance of his daughter, Antoinette Kraushaar. Antoinette had suffered a bout of pneumonia during the influenza epidemic of 1918 that cut short her education; grooming her for a career in the galleries was a logical step. Following the end of the First World War, Kraushaar resumed his buying trips to Europe, often accompanied by Antoinette, and exhibited works by European artists such as André Derain, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Henri de Toulouse-Lautrec, and Vincent Van Gogh. However, it was the increasing commitment to contemporary American artists for which the galleries would become best known. In addition to The Eight, the Kraushaars developed their inventory of American paintings and etchings with exhibitions of work by artists such as Gifford Beal, Charles Demuth, Guy Pène Du Bois, Gaston Lachaise, Jerome Myers, Charles Prendergast, and Henry Schnakenberg. Returning from a buying trip to Europe in 1929, John Kraushaar wrote to California collector Preston Harrision on July 26 that "the prices over there, especially for modern pictures are astounding." Nevertheless, Kraushaar believed that investing in modern art would yield benefits within the next five years, and he refused to be influenced by museums and critics outside of New York who were reluctant to agree. He exhibited a healthy disrespect for museum directors in general, whom he referred to in his letters to Harrision as "dead heads" who ought to be sent to different art centers of the world in order to "get in touch with what is going on there" (March 11, 1929). Like most of its contemporaries, Kraushaar Galleries suffered considerably during the Depression of the 1930s and struggled to collect and, in turn, pay accounts due. On October 5, 1931, John Kraushaar confessed to H. S. Southam, "Business is very bad with us, and I know that you will treat it confidentially when I tell you that I have had to sacrifice a good part of my personal holdings to provide cash for my own business." By 1934 the rent on the galleries' current location at 680 Fifth Avenue, where Kraushaar had moved in 1919, was out of all proportion to the amount of business that was being generated. In 1936, a timely move to 730 Fifth Avenue allowed the family to effect substantial economies without a disproportionate loss of business. During the 1930s, John Kraushaar's health began to fail, and he was frequently absent from the galleries. Consequently, Antoinette Kraushaar took on greater responsibility for the operation of the business with the assistance of her brother Charles. Although Antoinette was one of few women to hold such a prominent position in the art business at that time, there is no evidence in the records to suggest that artists or customers who had been accustomed to dealing with John Kraushaar had any difficulty accepting the transition in management from father to daughter. Nevertheless, collecting accounts remained difficult, and although business had improved by 1938 it was now stymied by the threat of war in Europe. The warmth of relations between the Kraushaars and the artists they handled, and their colleagues, was crucial to Antoinette during these years. She repeatedly expressed her gratitude for their understanding and assistance in her letters as she struggled to meet financial obligations and operate the business in her father's absence, experimenting with different strategies as she evolved an approach that would sustain the business. In a letter to Gifford Beal dated August 6, 1941, she spoke of "hellish times" and stressed, "I have learned a great many things during the past few years and hope that we are groping our way towards a working solution of our own affairs at least." While there is no question that Antoinette Kraushaar shared her father's genuine interest in contemporary American artists, the growing commitment to these artists that was forged during these years was driven in large part by necessity. By increasing her stock of American art and adding "younger painters of promise," she was able to sell work in a much broader price range. Consequently she could reach a wider audience and increase the likelihood that the business would remain solvent. This method of business also suited her personality far more than having a very specialized inventory of highly priced work, an approach that she confessed to J. Lionberger Davis on December 3, 1940, "requires a particular kind of temperament, and frankly I neither like it nor believe in it." Throughout her career Antoinette imbued the business with her personal style. She understood that elitism alienated art buyers of moderate income, who constituted her bread and butter, and believed strongly that the gallery environment should not be intimidating to potential customers. She corresponded at length with old and new clients alike, patiently offering advice when asked and maintaining liberal policies for those who wished to borrow artwork on approval. She also participated in events that promoted efforts to make art available to a wider audience, such as a 1951 exhibition and seminar at the Florida Gulf Coast Art Center that addressed problems of buying and selling art. She was a two-time board member of the Art Dealers Association of America and considered the organization to be an important source of support for the gallery community. In her dealings with other commercial galleries and art institutions, Antoinette Kraushaar exhibited a strong spirit of cooperation and enthusiasm, consistently lending art to small, locally owned businesses and community organizations as well as to more established galleries and world-class museums. She also developed long and mutually beneficial associations with the art departments of many educational institutions across the country, which proved to be fertile ground for young and upcoming artists. Antoinette Kraushaar exhibited the same honesty and fairness in dealing with artists as her father had, expressing her opinions of their work in a forthright manner and maintaining a policy of always looking at the work of any artist who came to her. She understood the inherent difficulties of dealing with living artists but relished the excitement of encouraging their work and watching them develop. On November 14, 1947, in reply to a letter from the artist Bernard Arnest, in which Arnest apologized for burdening her with his worries, she reminded him, "One of the functions of a dealer is to act as a safety valve. Didn't you know?" Although she would not retain artists indefinitely if she felt their work had deteriorated in quality, Antoinette often stressed that she was prepared to accept little or no initial financial return on the work of artists who showed promise or whose work held a particular appeal for her. In a letter of December 30, 1940, she reassured Walt Dehner that the lack of sales from his recent exhibition would not lead her to withdraw his work from the galleries. In typically unassuming style she advised Dehner to "go on painting whatever interests you. We have found that there is no recipe for success, either artistic or material." In the early 1940s Antoinette Kraushaar implemented two changes to her inventory. Sensing that interest in sculpture was growing, she rearranged the space to give that medium more room and attention. The market for etchings had been declining since the late 1930s, and as she reduced this part of her inventory she also acted on her personal passion for drawings by opening a small gallery devoted to contemporary American drawings that were priced well within the range of most customers. By the time Kraushaar Galleries moved to 32 East Fifty-seventh Street, late in 1944, American art had become the main focus of the business. While the long-standing interest in The Eight and other artists of that period continued, the galleries also handled contemporaries such as Louis Bouché, Samuel Brecher, John Heliker, Andrée Ruellan, and Karl Schrag. When John Kraushaar died in December 1946, Antoinette and Charles legally assumed control of the business. This partnership continued until 1950, when Antoinette assumed sole ownership of the gallery. In 1955 the galleries moved uptown to smaller quarters at 1055 Madison Avenue, and Antoinette Kraushaar gave up the greater part of her print business. She was inundated with requests from artists to be allowed a chance to show her their work, and the galleries' exhibition schedule was always full. Contemporary artists she now represented included Bernard Arnest, Peggy Bacon, Russell Cowles, Kenneth Evett, William Dean Fausett, William Kienbusch, Joe Lasker, and George Rickey, and she continued to exhibit artwork by Charles Demuth, William Glackens, George Luks, Maurice Prendergast, Boardman Robinson, and John Sloan. By the late 1950s the artists of the generation that her father had promoted in the early part of the century had died, but Antoinette Kraushaar had the pleasure of seeing his faith in them come to fruition. In a letter to Ralph Wilson dated October 20, 1958, she stated with satisfaction, "The Boston Museum is taking (at long last) a deep interest in (Maurice) Prendergast, and they will probably do an important show within the next year." Her correspondence with William Glackens's son Ira in the 1960s reveals the extent to which Glackens's popularity had grown since his death in 1938, and the market for John Sloan's work had been increasing steadily since the late 1920s. In 1962 James Penney summed up Kraushaar Galleries' success in the foreword of a catalog for an exhibition of paintings and sculpture the galleries had organized with the Munson-Williams-Proctor Institute at Hamilton College: 1854 -- Charles W. Kraushaar born 1871 -- John F. Kraushaar born 1885 -- Kraushaar Galleries established on Broadway near Thirty-first Street 1901 -- Galleries moved to 260 Fifth Avenue 1902 -- Antoinette Kraushaar born 1917 -- Charles W. Kraushaar died; John Kraushaar assumed control of the business, increasing inventory of modern American and European artists; first John Sloan exhibition 1919 -- Galleries moved to 680 Fifth Avenue [1920] -- Antoinette Kraushaar began assisting with the business 1924 -- Maurice Prendergast died 1936 -- Galleries moved to the Heckscher Building at 730 Fifth Avenue 1938 -- William J. Glackens died 1944 -- Galleries moved to the Rolls Royce Building at 32 East Fifty-seventh Street; American art now the main focus of the business 1946 -- John Kraushaar died; Antoinette and Charles Kraushaar assumed control of the business 1948 -- Charles Prendergast died 1950 -- Antoinette Kraushaar assumed sole ownership of Kraushaar Galleries 1951 -- John Sloan died 1955 -- Galleries moved to 1055 Madison Avenue 1959 -- Carole Pesner joined Kraushaar Galleries 1964 -- Galleries extended into adjacent building 1981 -- Galleries moved to 724 Fifth Avenue 1986 -- Katherine Kaplan joined Kraushaar Galleries 1988 -- Antoinette Kraushaar retired from day-to-day management of the business 1992 -- Antoinette Kraushaar died
Appendix: List of Kraushaar Galleries Exhibitions:
The Archives of American Art does not hold a complete collection of catalogs from exhibitions held at Kraushaar Galleries; therefore the dates and titles of exhibitions provided in this appendix are inferred from a variety of sources including correspondence, notes, artists' files, and requests for advertising. Italics indicate that the exact title of an exhibition is known. Jan., 1912 -- Paintings by Gustave Courbet and Henri Fantin-Latour Apr., 1912 -- Paintings by Frank Brangwyn and Henri Le Sidaner Jan., 1913 -- Paintings by Ignacio Zuloaga May, 1913 -- Etchings by Seymour Haden June, 1913 -- Paintings and Lithographs by Henri Fantin-Latour Oct., 1913 -- Etchings by Frank Brangwyn Jan., 1914 -- Ignacio Zuloaga Mar., 1914 -- Paintings by Alphonse Legros Apr., 1914 -- George Luks May, 1914 -- Seven Modern Masterpieces including Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Matthew Maris, and James McNeill Whistler undated, 1915 -- Paintings by John Lavery Jan.-Feb., 1917 -- James McNeill Whistler's White Girl Feb.-Mar., 1917 -- Paintings by Augustus Vincent Tack Mar.-Apr., 1917 -- Paintings and Etchings by John Sloan Summer, 1917 -- Works by French artists including A. L. Bouche, Josef Israels, Gaston La Touche, and Alphonse Legros Oct., 1917 -- Monoprints by Salvatore Antonio Guarino Nov., 1917 -- Etchings and Mezzotints by Albany E. Howarth Jan., 1918 -- Recent Paintings by John Lavery Jan.-Feb., 1918 -- Paintings and Watercolors by George Luks Feb.-Mar., 1918 -- Paintings by Augustus Vincent Tack Mar., 1918 -- Paintings by John Sloan Apr.-May, 1918 -- Paintings by A. L. Bouche May, 1918 -- War Paintings by J. Mortimer Block, Charles S. Chapman, Guy Pène Du Bois, H. B. Fuller, George Luks, W. Ritschell, John Sloan, and Augustus Vincent Tack Oct., 1918 -- Oil Paintings by William Scott Pyle Nov., 1918 -- Paintings by Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Edouard Manet, Antoine Vollon, James McNeill Whistler, and Ignacio Zuloaga, and bronzes by Antoine Louis Bayre, Emile Antoine Bourdelle, and Mahonri Young Apr., 1919 -- Paintings and Monoprints by Salvatore Anthonio Guarino Jan.-Feb., 1919 -- Decorative Panels and Other Paintings by Augustus Vincent Tack Mar., 1919 -- Paintings and Drawings by John Sloan May, 1919 -- Paintings by George Luks, Monticelli, and A. P. Ryder Sept., 1919 -- Work by Jean Louis Forain Oct., 1919 -- Etchings and Lithographs by Alphonse Legros Jan., 1920 -- Recent Paintings by George Luks Feb., 1920 -- Recent Paintings by John Sloan Feb., 1920 -- Paintings by William Scott Pyle Mar., 1920 -- Recent Paintings by Gifford Beal Apr., 1920 -- Recent Paintings by Augustus Vincent Tack Apr., 1920 -- Paintings by Henri Le Sidaner Apr., 1920 -- Paintings and Drawings by Jean Louis Forain Apr.-May, 1920 -- Paintings and Drawings by Jerome Myers May, 1920 -- Paintings by Henrietta M. Shore Jan., 1921 -- Paintings by French and American Artists Jan.-Feb., 1921 -- Paintings by George Luks Feb., 1921 -- New Paintings by Augustus Vincent Tack Apr., 1921 -- John Sloan Retrospective Summer, 1921 -- French and American Artists Oct., 1921 -- Paintings of Mountford Coolidge Oct., 1921 -- Works by Henri Fantin-Latour and Henri Le Sidaner Nov., 1921 -- Frank Van Vleet Tompkins Dec., 1921 -- Paintings and Bronzes by Modern Masters of American and European Art Jan., 1922 -- Exhibition of Recent Paintings and Watercolors by George Luks Feb., 1922 -- Paintings by Augustus Vincent Tack Mar., 1922 -- Paintings and Watercolors by Gifford Beal Apr., 1922 -- Exhibition of Paintings by Guy Pène Du Bois Summer, 1922 -- Paintings by Modern Masters of American and European Art Oct., 1922 -- Recent Paintings of the Maine Coast by George Luks Jan., 1923 -- Exhibition of Paintings by George Luks Feb., 1923 -- Paintings and Decorative Panels by Augustus Vincent Tack Mar., 1923 -- Landscapes by Will Shuster Mar., 1923 -- Paintings by Samuel Halpert Apr., 1923 -- Marine Figures and Landscapes by Gifford Beal Apr.-May, 1923 -- Paintings by John Sloan May, 1923 -- Paintings by Frank Van Vleet Tompkins June, 1923 -- Etchings by Marius A. J. Bauer Oct., 1923 -- American Watercolors by Gifford Beal, Reynolds Beal, George Luks, Maurice Prendergast, and William Zorach Dec., 1923 -- Etchings and Lithographs by Alphonse Legros Dec., 1923 -- Paintings, Drawings, and Pastels by Charles Adolphe Bischoff Jan., 1924 -- Paintings by Celebrated American Artists Mar., 1924 -- Paintings and Drawings by Guy Pène Du Bois Apr., 1924 -- New Paintings by George Luks May, 1924 -- Paintings by Marjorie Phillips Summer, 1924 -- French and American Modern Artists Oct., 1924 -- Painting, Watercolors, and Sculpture by William Zorach Nov., 1924 -- Watercolors by Seven Americans Dec., 1924 -- French Paintings Jan., 1925 -- Paintings by John Sloan Jan.-Feb., 1925 -- Maurice Prendergast Memorial Exhibition Mar., 1925 -- Plans and Photographs of Work in Landscape Architecture by Charles Downing Lay Apr., 1925 -- Paintings by William J. Glackens Dec., 1925 -- Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Richard Lahey Jerome Myers, Maurice Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, and William Zorach undated, 1926 -- Lower Broadway by W. Walcot Feb., 1926 -- Paintings by Paul Burlin Feb., 1926 -- Portraits of Duncan Phillips, Esq. Charles B. Rogers, Esq. & The Hon. Elihu Root Painted by Augustus Vincent Tack Mar., 1926 -- Paintings, Watercolors, and Drawings by Gifford Beal Apr., 1926 -- John Sloan Sept.-Oct., 1926 -- Exhibition of Etchings by C. R. W. Nevinson Oct., 1926 -- Drawings, Etchings, and Lithographs by Nineteenth-Century French Artists Oct., 1926 -- Paintings and Drawings by Mathieu Verdilhan Dec., 1926 -- Exhibition of Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Guy Pène Du Bois, Ernest Fiene, Samuel Halpert, Henry Keller, Louis Kronberg, Richard Lahey, Charles Lay, Jerome Myers, Maurice Prendergast, Henry Dec., 1926 -- Schnakenberg, A. Walkowitz, Martha Walters, William Zorach Jan., 1927 -- French Drawings and Prints Feb., 1927 -- Paintings, Drawings, Etchings, and Lithographs by John Sloan Mar., 1927 -- Gifford Beal Mar.-Apr., 1927 -- Decorative Panels and Watercolors by Margarett Sargent Mar.-Apr., 1927 -- Exhibition of Drawings and Lithographs of New York by Adriaan Lubbers Apr., 1927 -- Paintings and Etchings by Walter Pach Apr.-May, 1927 -- Paintings and Watercolors by Leopold Survage Apr.-May, 1927 -- Etchings and Woodcuts by D. Galanis May, 1927 -- Paintings by Guy Pène Du Bois Summer, 1927 -- Paintings by American Artists Summer, 1927 -- Paintings, Watercolors, and Drawings by Georges Braque, Honoré Daumier, Edgar Degas, André Derain, Henri Fantin-Latour, Jean Louis Forain, Constantin Guys, Henri de Toulouse-Lautrec, Edouard Manet, Henri Matisse, Amedeo Modigliani, Claude Monet, Morissot, Pablo Picasso, Camille Pissarro, Odilon Redon, Segonzac, and Georges Seurat Oct.-Nov., 1927 -- Exhibition of Etchings in Color by Bernard Boutet de Monvel Nov., 1927 -- Exhibition of Paintings, Drawings, Lithographs, and Watercolors by Ernest Fiene Dec., 1927 -- Watercolors by American Artists including Gifford Beal, Reynolds Beal, Carl Broemel, Charles Demuth, Guy Pène Du Bois, Ernest Fiene, Henry G. Keller, Richard Lahey, Charles Downing Lay, Howard Ashman Patterson, [Maurice] Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, Frank Nelson Wilcox, and [William] Zorach Dec., 1927 -- Paintings by Guy Pène Du Bois Dec., 1927 -- Paintings, Sculpture, and Decorative Media by George Biddle Jan.-Feb., 1928 -- Paintings by S. J. Peploe Feb., 1928 -- Drawings by Henri Fantin-Latour Feb., 1928 -- Pastels and Drawings by Margarett Sargent Feb., 1928 -- Drawings for Balzac's Les Contes Drolatiques by Ralph Barton Feb.-Mar., 1928 -- Sculpture by William Zorach Mar., 1928 -- Recent Paintings by Marjorie Phillips Mar.-Apr., 1928 -- Exhibition of Paintings by William Glackens Apr., 1928 -- Paintings, Drawings and Lithographs by R. H. Sauter of London, England Oct., 1928 -- Modern French Paintings, Watercolors and Drawings Oct.-Nov., 1928 -- Paintings, Watercolors, Drawings, Etchings, and Lithographs by Richard Lahey Nov., 1928 -- Exhibition of Paintings and Sculpture by J. D. Fergusson Nov.-Dec., 1928 -- Paintings, Drawings and Etchings by Walter Pach Dec., 1928 -- Paintings and Watercolors by Abraham Walkowitz Jan., 1929 -- Exhibition of Paintings by Margarett Sargent Jan., 1929 -- Watercolors by Rodin Jan.-Feb., 1929 -- Exhibition of Sculpture by Arnold Geissbuhler Feb., 1929 -- Paintings and Watercolors by Guy Pène Du Bois Feb.-Mar., 1929 -- Paintings by Gifford Beal Mar., 1929 -- Exhibition of Paintings by Adriaan Lubbers Mar.-Apr., 1929 -- Exhibition of Etchings by Gifford Beal, Frank W. Benson, Childe Hassam, Kenneth Hayes Miller, and John Sloan Apr., 1929 -- Exhibition of Paintings by Arnold Friedman Apr., 1929 -- Sculpture by Harriette G. Miller May, 1929 -- Paintings by Howard Ashman Patterson May, 1929 -- Paintings by William Meyerowitz Oct., 1929 -- Exhibition of Modern French Paintings, Watercolors and Drawings Nov., 1929 -- Modern French and American Paintings, Watercolors, Prints, and Sculpture (at Gage Galleries in Cleveland) Jan., 1930 -- Paintings by Paul Bartlett Feb., 1930 -- Watercolors by Auguste Rodin Feb.-Mar., 1930 -- Paintings by Guy Pène Du Bois Summer, 1930 -- Paintings by American Artists Oct., 1930 -- Paintings and Watercolors by Maurice Prendergast Nov., 1930 -- Paintings by Ruth Jonas Nov., 1930 -- Sculpture by Harriette G. Miller Jan., 1931 -- Paintings and Watercolors by Richard Lahey Jan.-Feb., 1931 -- Paintings by Erle Loran Johnson Feb.-Mar., 1931 -- Paintings, Watercolors and Etchings by Gifford Beal Mar., 1931 -- Paintings and Watercolors by Walter Pach Mar.-Apr., 1931 -- Paintings, Drawings, and Etchings by Rudolf H. Sauter May, 1931 -- Exhibition of Watercolors by John La Farge, Gifford Beal, H. E. Schnakenberg, Maurice Prendergast, Guy Pène Du Bois, Richard Lahey Fall, 1931 -- Modern French Paintings, Watercolors, and Drawings Dec., 1931 -- Exhibition of Drawings and Watercolors by D. Y. Cameron, Joseph Gray, Henry Rushbury, Muirhead Bone, Edmund Blampied, Gwen John Dec., 1931 -- Lithographs and Posters by H. de Toulouse-Lautrec Jan., 1932 -- Watercolors by Pierre Brissaud Feb., 1932 -- Paintings and Drawings by A. S. Baylinson Mar., 1932 -- Watercolors and Pastels by French and American Artists Apr., 1932 -- Paintings by Nan Watson May, 1932 -- Sculpture by Behn, Bourdelle, Geissbuhler, Lachaise, Maillol, Miller, Nadelman, Renoir, Young, Zorach; Decorative Panels by Max Kuehne, and Charles Prendergast June-Aug., 1932 -- Paintings and Watercolors by American Artists Oct.-Nov., 1932 -- Paintings, Watercolors, and Drawings by Various Artists Jan., 1933 -- Paintings by Paul Bartlett Jan.-Feb., 1933 -- Lithographs by Henri Fantin-Latour Feb., 1933 -- Etchings of Dogs by Bert Cobb Feb.-Mar., 1933 -- Paintings by American Artists Feb.-Apr., 1933 -- Paintings by Contemporary Americans Apr., 1933 -- Paintings by Maurice Prendergast Oct., 1933 -- Exhibition of French Paintings, Watercolors, and Drawings Oct.-Nov., 1933 -- Drawings by Emily W. Miles Oct.-Nov., 1933 -- Exhibition of Etchings and Lithographs Nov., 1933 -- Paintings and Watercolors by Henry E. Schnakenberg Dec., 1933 -- Watercolors by Gifford Beal Jan., 1934 -- Exhibition of Drawings by Denys Wortman for "Metropolitan Movies" Summer, 1934 -- Paintings by Gifford Beal, Reynolds Beal, Isabel Bishop, Ann Brockman, Preston Dickinson, Guy Pène Du Bois, William J. Glackens, Richard Lahey, Ernest Lawson, George Luks, Harriette Miller, Maurice Prendergast, Henry E. Schnakenberg, and John Sloan Oct.-Nov., 1934 -- Exhibition of Etchings and Lithographs Nov.-Dec., 1934 -- Paintings by Gifford Beal Mar., 1935 -- Complete Collection of Etchings by Mahonri Young July-Aug., 1935 -- Paintings by American Artists including Gifford Beal, Reynolds Beal, Ann Brockman, Guy Pène Du Bois, William J. Glackens, Max Kuehne, Richard Lahey, Ernest Lawson, George Luks, Harriette G. Miller, Maurice Prendergast, Henry E. Schnakenberg, John Sloan, and Abraham Walkowitz Oct.-Nov., 1935 -- Decorative Panels by Charles Prendergast Nov., 1935 -- Exhibition of Paintings by H. E. Schnakenberg Mar., 1936 -- Paintings by Louis Bouché Apr., 1936 -- Paintings by Gifford Beal Oct.-Nov., 1936 -- Loan Collection of French Paintings Dec., 1936 -- Monotypes in Color by Maurice Prendergast Jan., 1937 -- Recent Watercolors by H. E. Schnakenberg Jan., 1937 -- Paintings of Flowers by William J. Glackens Feb., 1937 -- Etchings by John Sloan Feb., 1937 -- A Group of American Paintings Sept., 1937 -- A Group of Paintings by Gifford Beal, Louis Bouché, Guy Pène Du Bois, William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, Theodore Robinson, John Sloan, J. Alden Weir Oct.-Nov., 1937 -- Decorative Panels by Charles Prendergast Dec., 1937 -- American Watercolors Jan.-Feb., 1938 -- Paintings by Gifford Beal Feb.-Mar., 1938 -- Drawings by William Glackens, Guy Pène Du Bois, John Sloan, Denys Wortman Apr., 1938 -- Paintings by Louis Bouché May, 1938 -- Paintings and Pastels by Randall Davey Oct., 1938 -- Selected Paintings by Modern French and American Artists Nov., 1938 -- Paintings by Guy Pène Du Bois from 1908 to 1938 Nov., 1938 -- Paintings and Sculpture by Harriette G. Miller Dec., 1938 -- Watercolors by Prendergast, Keller, Demuth, Wilcox and Others Jan., 1939 -- Paintings by H. H. Newton Oct., 1939 -- French and American Paintings Oct.-Nov., 1939 -- Drawings by William Glackens of Spanish-American War Scenes Nov., 1939 -- Paintings and Watercolors by Russell Cowles Jan.-Feb., 1940 -- Recent Paintings by Louis Bouché Feb.-Mar., 1940 -- Paintings by Henry Schnakenberg Mar.-Apr., 1940 -- Paintings by Maurice Prendergast Apr.-May, 1940 -- Watercolors by Charles Kaeselau May-June, 1940 -- A Group of Recent Paintings by Gifford Beal, Russell Cowles, John Koch, Henry Schnakenberg, Esther Williams, Louis Bouché, Guy Pène Du Bois, Harriette G. Miller, John Sloan, Edmund Yaghjian Oct., 1940 -- Drawings by American Artists Nov., 1940 -- Walt Dehner Mar., 1941 -- John Koch May-June, 1941 -- Watercolors and Small Paintings by Gifford Beal Oct.-Nov., 1941 -- Recent Paintings by Russell Cowles Nov.-Dec., 1941 -- Paintings and Watercolors by Henry E. Schnakenberg Dec., 1941 -- Charles Prendergast Jan., 1942 -- Paintings by Samuel Brecher Jan.-Feb., 1942 -- Recent Paintings by Guy Pène Du Bois Mar.-Apr., 1942 -- Recent Paintings by Louis Bouché Mar.-Apr., 1942 -- Illustrations by Boardman Robinson Commissioned by the Limited Editions Club for Edgar Lee Masters' "Spoon River Anthology" Dec., 1942 -- Paintings from the Period of the Last War Feb., 1943 -- Paintings and Watercolors by William Dean Fausett Mar., 1943 -- Paintings by John Hartell May-July, 1943 -- Watercolors by Contemporary American Artists Feb.-Mar., 1944 -- Samuel Brecher Feb.-Mar., 1944 -- Paintings, Gouaches, and Drawings by Andrée Ruellan Mar., 1944 -- Vaughn Flannery Mar.-Apr., 1944 -- Recent Paintings by Russell Cowles Apr.-May, 1944 -- Recent Paintings by Louis Bouché May-June, 1944 -- Retrospective Exhibition of Paintings and Watercolors by Henry G. Keller Oct., 1944 -- Esther Williams Nov.-Dec., 1944 -- Paintings and Watercolors of France by Maurice Prendergast Dec., 1944 -- William J. Glackens Sixth Memorial Exhibition Dec., 1944 -- Kraushaar Galleries Sixtieth Anniversary Exhibition of Paintings by William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, and John Sloan Jan.-Feb., 1945 -- Paintings by Gifford Beal Feb.-Mar., 1945 -- Paintings by Andrée Ruellan Apr.-May, 1945 -- Charles Locke May-June, 1945 -- William Dean Fausett Oct., 1945 -- Paintings by John Hartell Nov.-Dec., 1945 -- Recent Watercolors by Marion Monks Chase Nov.-Dec., 1945 -- Gouaches by Cecil Bell Dec., 1945 -- Memorial Exhibition of Paintings and Watercolors by Ann Brockman undated, 1946 -- Russell Cowles Jan.-Feb., 1946 -- Richard Lahey Feb., 1946 -- John Koch Feb.-Mar., 1946 -- Paintings by Ernst Halberstadt Mar., 1946 -- Paintings of Mexico and Guatemala by Henry E. Schnakenberg Mar., 1946 -- Iver Rose Apr., 1946 -- Louis Bouché Apr.-May, 1946 -- Russell Cowles May-June, 1946 -- Paintings by Bernard Arnest, Charles Harsanyi, Irving Katzenstein, Anna Licht, James Penney, Etienne Ret, and Vernon Smith Sept., 1946 -- Retrospective Exhibition of the Work of Boardman Robinson Nov., 1946 -- Guy Pène Du Bois Nov.-Dec., 1946 -- William J. Glackens Eighth Memorial Exhibition Jan., 1947 -- Karl Schrag Feb.-Mar., 1947 -- Sculpture by Robert Laurent Feb.-Mar., 1947 -- Paintings by Iver Rose Feb.-Mar., 1947 -- Recent Paintings by Vernon Smith Apr., 1947 -- Charles Prendergast Apr., 1947 -- Louis Bouché Apr.-May, 1947 -- Esther Williams Oct.-Nov., 1947 -- Anna Licht Nov., 1947 -- William J. Glackens Ninth Memorial Exhibition, with Works by Lenna Glackens Mar., 1948 -- Russell Cowles Apr.-May, 1948 -- Bernard Arnest Aug.-Sept., 1948 -- New York Paintings and Watercolors Oct.-Nov., 1948 -- Kenneth Evett Nov.-Dec., 1948 -- Watercolors and Pastels by Harriette G. Miller Jan.-Feb., 1949 -- John Hartell Sept.-Oct., 1949 -- Contemporary American Watercolors and Gouaches Oct., 1949 -- Contemporary Paintings Jan., 1950 -- Maurice Prendergast Retrospective of Oils and Watercolors Jan.-Feb., 1950 -- James Penney Feb.-Mar., 1950 -- Paintings by Karl Schrag Mar.-Apr., 1950 -- Russell Cowles Jan.-Feb., 1951 -- William Sommer Feb., 1951 -- Prints and Drawings by Various Artists Feb., 1951 -- Paintings by Louis Bouché Mar., 1951 -- Kenneth Evett Apr.-May, 1951 -- Paintings by Gallery Artists May-July, 1951 -- Contemporary American Watercolors July-Aug., 1951 -- Paintings on the Summer Theme Sept.-Oct., 1951 -- Vaughn Flannery Oct.-Nov., 1951 -- Recent Paintings by Gallery Artists Nov., 1951 -- Paintings by John Koch Nov.-Dec., 1951 -- Joe Lasker Dec., 1951 -- Small Prints and Drawings Jan., 1952 -- Recent Gouaches by William Kienbusch Jan., 1952 -- John Sloan: Recent Etchings from 1944-1951, and Etchings and Drawings Selected from All Periods of His Career Feb.-Mar., 1952 -- Andrée Ruellan Mar.-Apr., 1952 -- Bernard Arnest Apr.-May, 1952 -- Recent Sculpture by Robert Laurent May, 1952 -- Recent Paintings by Contemporary American Artists May-June, 1952 -- Watercolors by Joseph Barber, Edward Christiana, Walt Dehner, Sidney Eaton, Wray Manning, and Woldemar Neufeld July-Aug., 1952 -- Color Prints (Woodcuts, Etchings, and Lithographs) by Eleanor Coen, Caroline Durieux, Max Kahn, Tom Lias, Woldemar Neufeld, James Penney, George Remaily, Ann Ryan, and Karl Schrag Nov., 1952 -- Karl Schrag Dec., 1952-Jan. 1953 -- Eight Oregon Artists Jan., 1953 -- Charles Prendergast Memorial Exhibition Jan.-Feb., 1953 -- John Hartell May, 1953 -- John Heliker June, 1953 -- Humbert Alberizio, Vaughn Flannery, William Kienbusch, George Rickey, Andrée Ruellan, and Karl Schrag Sept., 1953 -- Works by Gifford Beal, Kenneth Evett, Tom Hardy, John Koch, and James Lechay Sept.-Oct., 1953 -- Paintings by Glackens, Lawson, Prendergast, Sloan Oct.-Nov., 1953 -- Paintings by E. Powis Jones Oct.-Nov., 1953 -- Recent Works by John Koch Nov., 1953 -- Kenneth Evett: Drawings from Greek Mythology Nov.-Dec., 1953 -- Recent Metal Sculptures by Tom Hardy Nov.-Dec., 1953 -- Pastels, Drawings and Prints by Peggy Bacon Nov.-Dec., 1953 -- Recent Paintings by Ralph Dubin Feb.-Mar., 1954 -- Russell Cowles Mar.-Apr., 1954 -- James Penney Nov.-Dec., 1954 -- Tom Hardy: Metal Sculptures Jan., 1955 -- Mobiles, Machines, and Kinetic Sculpture by George Rickey Jan.-Feb., 1955 -- James Lechay Feb., 1955 -- Mobiles by George Rickey Feb.-Mar., 1955 -- Drawings, Etchings, and Lithographs by John Sloan (with a selection of prints by artists whose work influenced him in his early years: Rembrandt, Hogarth, Goya, Rops, Daumier, Rowlandson and others, to mark the publication of John Sloan: A Painter's Life by Van Wyck Brooks) Mar.-Apr., 1955 -- Jane Wasey Apr., 1955 -- Recent Work by Joe Lasker May-June, 1955 -- Sculpture and Drawings by Contemporary American Artists Jan., 1956 -- Carl Morris Jan.-Feb., 1956 -- John Laurent Feb.-Mar., 1956 -- William Kienbusch Mar., 1956 -- Andrée Ruellan Mar.-Apr., 1956 -- Karl Schrag Apr.-May, 1956 -- John Heliker May, 1956 -- Monotypes by Maurice Prendergast Oct., 1956 -- The Eight Jan.-Feb., 1957 -- Paintings by John Hartell Apr., 1957 -- James Penney Apr.-May, 1957 -- John Heliker May-June, 1957 -- Fourteen Painter-Printmakers (American Federation of Arts exhibition) June-July, 1957 -- 20th Century American Artists Nov., 1957 -- William Glackens and His Friends (based on the book by Ira Glackens) Nov., 1957 -- Marguerite Zorach Jan., 1958 -- Gouches, Drawings and Small Glyphs by Ulfert Wilke Jan.-Feb., 1958 -- Tom Hardy Feb.-Mar., 1958 -- John Koch Feb.-Mar., 1958 -- Still Life Exhibition with Works by William J. Glackens and Maurice Prendergast Feb.-Mar., 1958 -- Cecil Bell Mar., 1958 -- Karl Schrag Mar., 1958 -- Carl Morris Mar.-Apr., 1958 -- Louis Bouché Apr., 1958 -- Paintings and Drawings by Joe Lasker Apr.-May, 1958 -- Paintings and Drawings by Walter Feldman Apr.-May, 1958 -- Sculpture by Henry Mitchell May-June, 1958 -- Works in Casein and Gouache by Bernard Arnest, William Kienbusch, Carl Morris, and Karl Schrag July, 1958 -- Still Life Paintings and Watercolors by American Artists Oct.-Nov., 1958 -- Kenneth Evett Nov., 1958 -- Elsie Manville Nov.-Dec., 1958 -- John Laurent Jan., 1959 -- Kinetic Sculpture by George Rickey Jan.-Feb., 1959 -- Bernard Arnest Mar., 1959 -- Karl Schrag Mar.-Apr., 1959 -- Paintings by Joe Lasker Apr.-May, 1959 -- Henry Mitchell Sept.-Oct., 1959 -- Robert Searle Oct.-Nov., 1959 -- Russell Cowles Nov., 1959 -- Caseins and Paintings by William Kienbusch Dec., 1959 -- Paintings by Vaughn Flannery Feb., 1960 -- James Lechay Apr., 1960 -- Landscapes by John Sloan Apr.-May, 1960 -- John Guerin May-June, 1960 -- Drawings and Small Sculpture by Gallery Artists Oct., 1960 -- Ainslie Burke Oct.-Nov., 1960 -- Leon Goldin Nov.-Dec., 1960 -- Ulfert Wilke Jan., 1961 -- Leonard DeLonga Jan., 1961 -- Kenneth Evett Jan.-Feb., 1961 -- Walter Feldman Feb.-Mar., 1961 -- Watercolors and Pastels by Early Twentieth-Century American Artists Mar., 1961 -- Paintings by Ralph Dubin Mar.-Apr., 1961 -- James Penney Apr.-May, 1961 -- John Koch June, 1961 -- Works by Humbert Albrizio, Bernard Arnest, Cecil Bell, Louis Bouché, Ralph Dubin, Kenneth Evett, Walter Feldman, John Hartell, John Heliker, William Kienbusch, John Koch, Robert Laurent, James Lechay, Elsie Manville, Henry Mitchell, James Penney, George Rickey, Andrée Ruellan, Henry E. Schnakenberg, Karl Schrag, Jane Wasey, and Marguerite Zorach Sept., 1961 -- Works by Contemporary Americans Oct., 1961 -- George Rickey: Kinetic Sculpture Oct.-Nov., 1961 -- Carl Morris Nov.-Dec., 1961 -- Peggy Bacon Dec., 1961 -- Selected Works by Twentieth-Century Americans Jan., 1962 -- Polymer Resin and Sumi Ink Paintings by Kenneth Evett Jan.-Feb., 1962 -- Louis Bouché Feb.-Mar., 1962 -- Karl Schrag Mar., 1962 -- Marguerite Zorach Apr., 1962 -- John Laurent Apr.-May, 1962 -- Sculpture by Tom Hardy May-June, 1962 -- Drawings by Contemporary American Artists July-Aug., 1962 -- Group Exhibitions - Paintings, Drawings and Sculpture by 20th Century American Artists Oct., 1962 -- Bernard Arnest Feb., 1963 -- William Kienbusch Feb.-Mar., 1963 -- John Guerin Mar., 1963 -- John Hartell Sept.-Oct., 1963 -- Andrée Ruellan Oct.-Nov., 1963 -- Ainslie Burke Nov., 1963 -- Walter Feldman Dec., 1963 -- Drawings by John Koch Dec., 1963 -- Paintings by Contemporary Americans Jan., 1964 -- Leonard DeLonga Jan.-Feb., 1964 -- Joe Lasker Feb.-Mar., 1964 -- Leon Goldin Mar., 1964 -- Paintings by Ralph Dubin Apr., 1964 -- Carl Morris Apr.-May, 1964 -- Paintings and Drawings by John Heliker Oct.-Nov., 1964 -- Louis Bouché Nov.-Dec., 1964 -- Karl Schrag Dec., 1964 -- Kenneth Evett Feb., 1965 -- Russell Cowles Feb.-Mar., 1965 -- James Lechay Mar.-Apr., 1965 -- James Penney Apr.-May, 1965 -- Gifford Beal Feb., 1966 -- Dennis Leon Feb.-Mar., 1966 -- Henry Schnakenberg Mar.-Apr., 1966 -- John Hartell Apr., 1966 -- Elsie Manville Oct., 1966 -- Contrasts - Early and Late Works by Selected Contemporaries Oct.-Nov., 1966 -- Tom Hardy Nov.-Dec., 1966 -- Francis Chapin Dec., 1966-Jan., 1967 -- Karl Schrag: Etchings and Lithographs Jan.-Feb., 1967 -- Leonard DeLonga Feb.-Mar., 1967 -- Carl Morris Mar.-Apr., 1967 -- Ainslie Burke Apr.-May, 1967 -- John Heliker: Paintings, Drawings, and Watercolors May-June, 1967 -- William Glackens Oct., 1967 -- Kenneth Callahan Oct.-Nov., 1967 -- John Laurent Jan.-Feb., 1968 -- Dennis Leon Feb.-Mar., 1968 -- Robert La Hotan Apr., 1968 -- John Guerin Apr.-May, 1968 -- Leon Goldin Sept.-Oct., 1968 -- Contemporary Sculpture and Drawings Oct.-Nov., 1968 -- Karl Schrag Nov.-Dec., 1968 -- James Lechay: Portraits and Landscapes Dec., 1968-Jan., 1969 -- Group Exhibition Jan., 1969 -- Elsie Manville Mar., 1969 -- Kenneth Evett Apr.-May, 1969 -- James Penney Sept.-Oct., 1969 -- New Works by Contemporary Artists Oct.-Nov., 1969 -- John Hartell: Exhibition Nov., 1969 -- Peggy Bacon Dec., 1969 -- Selected Examples by American Artists 1900-1930 Jan., 1970 -- Leonard DeLonga Feb., 1970 -- Joe Lasker Mar., 1970 -- Group Exhibition Mar.-Apr., 1970 -- Dennis Leon Apr.-May, 1970 -- Jerome Myers Oct.-Nov., 1970 -- Tom Hardy Jan.-Feb., 1971 -- Jane Wasey Mar.-Apr., 1971 -- Kenneth Callahan Oct., 1971 -- Ainslie Burke Nov.-Dec., 1971 -- Karl Schrag Feb.-Mar., 1972 -- John Koch Mar.-Apr., 1972 -- Robert La Hotan Apr.-May, 1972 -- Leon Goldin May-June, 1972 -- Selected Works by 20th Century Americans Sept.-Oct., 1972 -- Gallery Collection: American Watercolors and Drawings Oct.-Nov., 1972 -- John Hartell Nov.-Dec., 1972 -- Peggy Bacon Dec., 1972 -- 20th Century Americans Jan., 1973 -- Leonard DeLonga Feb., 1973 -- Carl Morris Mar., 1973 -- James Lechay Mar.-Apr., 1973 -- Russell Cowles: Landscape Paintings Apr.-May, 1973 -- Jerome Witkin May-June, 1973 -- Kenneth Evett: Watercolors Oct.-Nov., 1973 -- Kenneth Callahan Jan., 1974 -- Joe Lasker Jan.-Feb., 1974 -- Bernard Arnest Feb.-Mar., 1974 -- Concetta Scaravaglione Oct., 1974 -- Ainslie Burke Oct.-Nov., 1974 -- James Penney Jan., 1975 -- Tom Hardy Jan.-Feb., 1975 -- Karl Schrag Feb.-Mar., 1975 -- Robert La Hotan Mar.-Apr., 1975 -- William Kienbusch Apr., 1975 -- Elsie Manville Apr.-May, 1975 -- Gifford Beal Oct.-Nov., 1975 -- John Hartell Nov., 1975 -- Daniel O'Sullivan Mar., 1976 -- Jerome Witkin May, 1976 -- Linda Sokolowski Sept.-Oct., 1976 -- Joe Lasker, Illustrations from Merry Ever After Oct., 1976 -- Leonard DeLonga Nov.-Dec., 1976 -- Kenneth Callahan Jan., 1977 -- James Lechay Mar., 1977 -- Karl Schrag Mar.-Apr., 1977 -- David Cantine Oct.-Nov., 1977 -- John Hartell Nov.-Dec., 1977 -- Ainslie Burke Feb., 1978 -- Robert La Hotan Apr., 1978 -- Elsie Manville Oct., 1978 -- Tom Hardy Oct.-Nov., 1978 -- Jerome Witkin Jan.-Feb., 1979 -- Joe Lasker Feb., 1979 -- Kenneth Evett Feb.-Mar., 1979 -- Karl Schrag Mar.-Apr., 1979 -- Carl Morris Apr.-May, 1979 -- Linda Sokolowski Oct.-Nov., 1979 -- Daniel O'Sullivan Feb.-Mar., 1980 -- Kenneth Callahan Mar., 1980 -- Ainslie Burke Oct., 1980 -- John Hartell Jan., 1981 -- Leonard DeLonga Feb., 1981 -- James Lechay Feb.-Mar., 1981 -- Robert La Hotan Mar.-Apr., 1981 -- Jerry Atkins Apr.-May, 1981 -- Ben Frank Moss Jan.-Feb., 1982 -- Jerome Witkin Feb.-Mar., 1982 -- Elsie Manville Mar.-Apr., 1982 -- Karl Schrag Apr.-May, 1982 -- Linda Sokolowski May-June, 1982 -- David Cantine Sept.-Oct., 1982 -- Kenneth Callahan Oct.-Nov., 1982 -- Joe Lasker Nov.-Dec., 1982 -- Daniel O'Sullivan Jan.-Feb., 1983 -- William Kienbusch: Memorial Exhibition Feb.-Mar., 1983 -- Jerry Atkins Mar.-Apr., 1983 -- John Hartell Apr.-May, 1983 -- John Heliker May-June, 1983 -- Kenneth Evett Oct., 1983 -- Concetta Scaravaglione Oct.-Nov., 1983 -- Ben Frank Moss Nov.-Dec., 1983 -- Russell Cowles Dec., 1983-Jan., 1984 -- 20th Century Americans Jan.-Feb., 1984 -- Marguerite Zorach: Paintings at Home and Abroad Feb.-Mar., 1984 -- Robert La Hotan Mar., 1984 -- David Smalley Apr., 1984 -- Carl Morris May, 1984 -- Karl Schrag July, 1984 -- Drawings by 20th Century Americans July-Aug., 1984 -- Collages and Drawings by Joseph Heil Aug.-Sept., 1984 -- Drawings and Prints by Tom Hardy Sept.-Oct., 1984 -- James Penney: Memorial Exhibition Oct.-Nov., 1984 -- Paintings and Drawings by Leon Goldin Nov.-Dec., 1984 -- Isabelle Siegel Dec., 1984-Jan., 1985 -- Group Exhibition: Contemporary American Paintings and Sculpture Jan.-Feb., 1985 -- James Lechay Feb.-Mar., 1985 -- Ainslie Burke Mar., 1985 -- Karen Breunig Apr., 1985 -- Kenneth Callahan Oct., 1985 -- Elsie Manville Oct.-Nov., 1985 -- William Glackens Jan.-Feb., 1986 -- Linda Sokolowski Feb.-Mar., 1986 -- Jerry Atkins Apr.-May, 1986 -- Jane Wasey Oct.-Nov., 1986 -- John Hartell Nov.-Dec., 1986 -- Karl Schrag Feb.-Mar., 1987 -- Kenneth Evett Apr.-May, 1987 -- Ben Frank Moss May-June, 1987 -- David Smalley Oct.-Nov., 1987 -- Isabelle Siegel Feb.-Mar., 1988 -- Karen Breunig Mar.-Apr., 1988 -- Leon Goldin Sept.-Oct., 1988 -- Elsie Manville Oct.-Nov., 1988 -- James Lechay Jan.-Feb., 1989 -- Karl Schrag Feb.-Mar., 1989 -- Linda Sokolowski Jan.-Feb., 1990 -- Kenneth Callahan: Works of the Fifties Jan.-Feb., 1990 -- Gifford Beal: Watercolors Mar., 1990 -- Robert La Hotan: Recent Paintings Mar.-Apr., 1990 -- Sonia Gechtoff: New Paintings May-June, 1990 -- David Smalley: Recent Sculpture May-June, 1990 -- Andrée Ruellan: Sixty Years of Drawing... Oct., 1990 -- Isabelle Siegel Nov., 1990 -- Leon Goldin Jan.-Feb., 1991 -- Karl Schrag Feb.-Mar., 1991 -- Joe Lasker Apr., 1991 -- Ainslie Burke Nov.-Dec., 1991 -- Linda Sokolowski: Oils, Collages, Monotypes Dec., 1991-Jan., 1992 -- Elsie Manville: Small Works on Paper Mar., 1992 -- Tabitha Vevers May-June, 1992 -- Sonia Gechtoff Oct.-Nov., 1992 -- James Lechay Nov.-Dec., 1992 -- Karl Schrag Mar., 1993 -- Leon Goldin: Works on Paper Apr.-May, 1993 -- Robert La Hotan Oct., 1993 -- David Smalley: Sculpture Inside and Out Oct., 1993 -- Andrée Ruellan: Works on Paper 1920-1980 Mar.-Apr., 1994 -- Kenneth Evett: Travels: Themes and Variations (Watercolors of Italy, Greece, Arizona, Maine and California) Mar.-Apr., 1994 -- Tabitha Vevers Oct.-Nov., 1994 -- Linda Sokolowski Nov.-Dec., 1994 -- Karl Schrag Jan.-Feb., 1995 -- Langdon Quin Mar.-Apr., 1995 -- Robert La Hotan Sept.-Oct., 1995 -- Sonia Gechtoff Jan.-Feb., 1996 -- Elsie Manville: Paintings and Works on Paper Oct.-Nov., 1996 -- Karl Schrag: A Self Portrait Retrospective, 1940-1995 Jan.-Feb., 1997 -- Joe Lasker: Paintings and Watercolors Mar.-Apr., 1997 -- Tabitha Vevers Oct.-Nov., 1997 -- James Lechay Feb.-Mar., 1998 -- Linda Sokolowski: Canyon Suite: Works from the Southwest Mar.-Apr., 1998 -- Leon Goldin: Paintings on Paper Sept.-Oct., 1998 -- Sonia Gechtoff: Mysteries in the Sphere Oct.-Nov., 1998 -- Langdon Quin: Recent Paintings Nov.-Dec., 1998 -- John Gill Jan.-Feb., 1999 -- Robert La Hotan Feb.-Mar., 1999 -- Ann Sperry: Where Is Your Heart Nov.-Dec., 1999 -- Kathryn Wall Jan.-Feb., 2000 -- Elsie Manville Sept.-Oct., 2000 -- Joe Lasker Oct.-Nov., 2000 -- James Lechay Oct.-Nov., 2000 -- Tabitha Vevers May-June, 2001 -- Kenneth Callahan: Drawings Dec., 2001-Jan., 2002 -- Sur La Table: A Selection of Paintings and Works on Paper Jan.-Feb., 2002 -- Karl Schrag: Theme and Variations II: The Meadow undated, 2003 -- Ann Sperry Jan.-Feb., 2003 -- Andrée Ruellan: Works on Paper from the 1920s and 1930s Oct.-Nov., 2003 -- Joe Lasker: Muses and Amusements Nov.-Dec., 2003 -- Tabitha Vevers Mar.-Apr., 2004 -- Leon Goldin: Five Decades of Works on Paper May-July, 2004 -- Anne Frank: A Private Photo Album Jan.-Feb., 2005 -- John Gill: Ceramics Sept.-Oct., 2005 -- Karl Schrag: The Painter of Bright Nights
Related Material:
An untranscribed oral history interview with Antoinette Kraushaar was conducted for the Archives of American Art by Avis Berman in 1982, and is available on five audio cassettes at the Archives' Washington D.C. research facility.
Separated Material:
In addition to the records described in this finding aid, the following materials were lent to the Archives for filming in 1956 and are available on microfilm reels NKR1-NKR3 and for interlibrary loan: a book of clippings from 1907 to 1930, primarily of exhibition reviews; loose clippings and catalogs of exhibitions from 1930 to 1946; and a group of photographs and clippings relating to George Luks and other artists. These materials were returned to Kraushaar Galleries after microfilming.
Provenance:
53.5 linear feet of records were donated to the Archives of American Art by Kraushaar Galleries in three separate accessions in 1959, 1994, and 1996. Katherine Kaplan of Kraushaar Galleries donated an additional 38.4 linear feet in 2008-2009.
Restrictions:
Use of originals requires an appointment. A fragile original scrapbook is closed to researchers.
Rights:
The Kraushaar Galleries records are owned by the Archives of American Art, Smithsonian Institution. The collection is subject to all copyright laws. Authorization to publish, quote or reproduce from the records requires written permission from: Katherine Kaplan, Kraushaar Galleries, 724 Fifth Avenue, New York, NY 10019.
Topic:
Works of art  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, American  Search this
Artists -- United States  Search this
Depressions -- 1929  Search this
Genre/Form:
Photographs
Sketches
Drawings
Exhibition catalogs
Financial records
Notes
Sketchbooks
Citation:
Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kraugall
See more items in:
Kraushaar Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kraugall