The Bob Bilyeu Camblin papers measure 3.1 linear feet and date from 1951 to 1985. The papers provide a snapshot of Camblin's career as an artist and educator through personal papers, printed material, artwork, photographs, and motion picture film and video recordings.
Scope and Contents:
The Bob Bilyeu Camblin papers measure 3.1 linear feet and date from 1951 to 1985. The papers provide a snapshot of Camblin's career as an artist and educator through personal papers, printed material, artwork, photographs, and motion picture film and video recordings.
Personal papers include resumes and printed material such as exhibition catalogs and announcements and clippings. Camblin's artwork includes sketches, expressive writings, drawings, and prints. Photographic material includes images of artwork, friends, family, trips, and miscellany; and moving images include home videos of art, art techniques, leisure activities, and autobiographical films.
Arrangement:
This collection is arranged as 4 series.
Series 1: Personal Papers, 1951-1985 (5 folders; Box 1)
Series 2: Artwork, 1951-1985 (8 folders; Box 1)
Series 3: Photographs, 1951-1980 (1 linear foot; Box 1, 2)
Series 4: Moving Images, circa 1970-1976 (1.8 linear feet; Box 2; FCs 3-19)
Biographical / Historical:
Bob Bilyeu Camblin (1928-2010) was a modernist painter and educator active in Houston, Texas. Camblin experimented with a wide variety of media and is known for collaborative projects with many artists, including a collective known as The Holding Firm with Earl Staley and Joe Tate in Houston.
Born in Ponca City, Oklahoma, Camblin served in the United State Army (1948-1949) and Air Force (1950-1951) before receiving his bachelor of fine arts in 1954, and his master of fine arts degree in 1955. He worked as a map make from 1955-1958 before holding teaching posts at multiple institutions including the Kansas City Art Institute, the Ringling School of Art, Sarasota Florida, the University of Illinois, the University of Detroit, the University of Utah, and Rice University in Houston.
While living in Houston Camblin collaborated with artists Earl Staley and Joe Tate, as the B. E. and J. Holding Firm, or The Holding Firm. The collective worked on multiple projects including paintings, drawings, art excursions, and exhibitions.
Camblin's first one-man show was held in 1955 at the Kansas City Art Institute and his work has been exhibited in other solo exhibitions including at Oklahoma State University (1961), Plumtree Gallery, Salt Lake City, Utah (1965-1966), Windsor College, Canada (1965), David Gallery, Houston (1969-1970), and the Graham Gallery in Houston (1989). Camblin participated in many group exhibitions including ART:USA 58 (1958), Fulbright Artists Exhibition, Nelson Gallery of Art, Kansas City (1958), Childe Hassam Purchase Fund Show, American Academy of Arts and Letters (1958), and Printmaking in Texas: The 1980s Modern Art Museum, Fort Worth (1990).
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming by Mrs. Eldon Jensen on Reel 2248, including six sketchbooks, 1979-1980, containing sketches, writings, and a few letters. Loaned materials were returned to the lender and are not described in the collection container inventory.
Some of the material from reels 3461 and 3462 including correspondence, clippings, files on the Document Show, the Barter Show, B. E. and J. Holding Firm and the Venice Venture are available for use only at the Museum of Fine Arts, Houston and through interlibrary loan, and are not described in the collection container inventory.
Provenance:
This collection was donated by Sandra Curtis Levy in a series of accessions between 1979-1986.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Bob Bilyeu Camblin papers, 1951-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.
There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.
Scope and Contents:
The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.
Biographical material includes curricula vitae, diplomas, an award certificate, and bibliographies of monographs and articles by and about Audrey Flack. Flack's correspondence documents her professional activities and business dealings.
There is correspondence with galleries, museums, arts organizations; architects and foundries; and academic institutions. Included are letters from Arizona State University, Atlantic Center for the Arts, Cooper Union, Guild Hall, Louis K. Meisel Gallery, and the Museum of Modern Art. There are letters from art historians and critics, including Flack's correspondence with Anthony Janson. Letters from publishers and agents pertain to book projects, proposals for articles, and requests to reproduce artwork in monographs or catalogs.
Interviews with Flack from the 1970s through the 1990s are found, recorded on sound and video. Writings and notes include manuscript versions for a book, typescripts of speeches, and a notebook. Also found are audio and video recordings of lectures and talks by Flack discussing her paintings and sculptures. The collection includes extensive project files on Flack's commissioned public works and exhibitions. The files also include correspondence concerning book projects, permission requests, and Flack's participation in art educational programs, and some projects are documented with recorded sound and moving images, two if which are in digital format.
Printed material consists of catalogs of Flack's shows, invitations and announcements to openings, press releases, reproductions of artwork, exhibition posters, clippings, periodicals, and books reflecting Flack's professional activities from the 1950s-2008. Photographs are of portraits by Flack, Flack by herself and with colleagues and students, as well as of the artist's studio. Also found are photographs of artwork.
There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.
Arrangement:
The collection is arranged as 9 series.
Series 1: Biographical Material, 1951-2006 (Box 1; 0.25 linear feet)
Series 2: Correspondence, 1950-2009 (Boxes 1-3; 2.4 linear feet)
Series 3: Interviews, circa 1970-1998 (Boxes 3-4; 0.8 linear feet)
Series 4: Writings and Notes, circa 1970-2007 (Boxes 4-6; 2.15 linear feet)
Series 5: Project Files, 1966-circa 2007 (Boxes 6-11, FC 18-21; 5.6 linear feet, ER01-ER02, 0.897 GB)
Series 6: Printed Material, 1950-2008 (Boxes 11-16, OV 17; 4.1 linear feet)
Series 7: Scrapbooks, 1977-2008 (Box 15; 2 folders)
Series 8: Photographs, 1966-2009 (Boxes 15-16; 0.5 linear feet)
Series 9: Unprocessed Addition, circa 1950-2022 (Boxes 22-41, OV 42-43; 18.8 linear feet)
Biographical / Historical:
Audrey Flack (1931-) is a painter and sculptor in New York City and in Long Island, New York. She earned a Bachelor of Arts from Cooper Union in 1951 and received a Bachelor of Fine Arts from Yale University in 1952. In the 1950s, she was part of the New York School that included the Abstract Expressionist painters Franz Kline and Jackson Pollock. By the 1960s, Flack had turned to painting in a realistic manner. She pioneered the technique of incorporating photographic images from contemporary sources such as magazines and newspapers; the art form became known as Photorealism.
Her subjects have included families, celebrities, and public figures. An early work, The Kennedy Motorcade captured President John Kennedy moments before he was assassinated. Flack's paintings have also centered on the varied experiences of women as depicted in her Vanitas series done in the 1970s. Flack was the first Photorealist painter to have a work acquired by the Museum of Modern Art. By the 1980s, Flack was creating sculptures, goddess figures and other mythological deities of various cultures. The sculptures, many of monumental proportions were executed as commissioned works for public spaces. Flack's commissions have included Civitas: Four Visions, South Carolina, Galatea Fountain, South Pasadena, Florida, Islandia, New York City Technical College, and The Art Muse, Tampa, Florida. Further, Audrey Flack has also worked in other media such as photography and printmaking.
Audrey Flack has taught and lectured at colleges and universities in the United States and abroad, including Cooper Union, Pratt Institute of New York, and the Studio Art School International, Florence, Italy. She has been a Visiting Professor at a number of universities, including the University of North Dakota, University of Tennessee, and the University of Pennsylvania. Her paintings, watercolors, and sculptures have been featured in solo and group exhibitions in major museums and galleries. Flack's artwork has also been shown in a number of traveling exhibitions including "Saints and Other Angels: The Religious Paintings of Audrey Flack" sponsored by Cooper Union and "Breaking the Rules: Audrey Flack, A Retrospective, 1950-1990" organized by the J.B. Speed Museum. Flack has been represented by the Louis K. Meisel Gallery, the Vered Gallery, and the Gary Snyder Gallery. Among the many awards and honors she has received are the Honorary Ziegfeld Award, National Art Education Association, an Honorary Doctorate, Lyme Academy of Art, and the U.S. Government National Design for Transportation Award. Audrey Flack has also written two books and numerous articles.
Audrey Flack lives and works in New York and in East Hampton, New York.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Audrey Flack conducted by Robert C. Morgan, February 16, 2009.
Provenance:
The collection was donated by Audrey Flack in 2009 and 2022.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more
information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Donald Saff papers and Saff Tech Arts records, circa 1710, 1800-2013, bulk 1965-2010. Archives of American Art, Smithsonian Institution.
Donald Saff papers and Saff Tech Arts records measures 31.8 linear feet, and 9.82 Gigabytes, and dates from circa 1710, 1800-2013, bulk 1965-2010. Donald Saff's papers document his career as an artist, and contain professional records prior to the founding of Saff Tech Arts, including his tenure at University of South Florida and Graphicstudio. Also included are records and correspondence documenting consulting and other collaboration outside of Saff Tech Arts. The series includes biographical material, correspondence, professional records, writings, exhibition files, printed material, and artwork. Saff Tech Arts (later Saff & Co.) records includes correspondence, founding documents including funding, fabrication and supplies information, artist files documenting working relationships ranging from potential collaboration, to long-term fabrication and representation, regular business relationships such as Knoedler & Co., and legal and insurance information including leases and worksite assessments. The series includes correspondence, artist files, business records, and printed material including clippings and subject files. Some materials are in digital formats.
Scope and Contents:
Donald Saff papers and Saff Tech Arts records measures 31.8 linear feet, and 9.82 Gigabytes, and dates from circa 1710, 1800-2013, bulk 1965-2010.
Donald Saff's papers document his career as an artist, and contain professional records prior to the founding of Saff Tech Arts, including his tenure at University of South Florida and Graphicstudio. Also included are records and correspondence documenting consulting and other collaboration outside of Saff Tech Arts. Biographical material includes printed resumes as well as a biographical scrapbook with a hand-written letter in Italian dated 1710 and a biographical listing from "Who's Who in American Art." Correspondence is largely professional with some personal correspondence including letters with other artists. Listed chronologically, followed by an alphabetical run, this correspondence represents Saff's activities while affiliated with the University of Southern Florida and Graphicstudio. Also included are letters of reference for former students, studio assistants, and other colleagues, as well as regarding Saff's own job searches. The professional records subseries encompasses Saff's career as an artist including information on various bodies of artwork particularly in printmaking. This series focuses on Saff's professional career before Saff Tech Arts including Graphicstudio, as well as professional work after the height of Saff Tech Arts including consulting and curatorial work for the Guggenheim Museum and the status of Saff's registered patents. The writings subseries includes correspondence and manuscript material regarding Saff's 1978 book Printmaking co-authored with Deli Sacilotto, as well as follow-up and writings submitted for a possible update and reprint in the mid-1990s. Also included are published articles on the collaboration process. The exhibition subseries includes Saff's solo and group shows as an artist, as well as shows focusing on him as a fabricator and collaborator including the unrealized Joint Venture: Donald Saff and the Art of Collaboration, which was scheduled to open in Fall of 2009 at the Brooklyn Museum. The printed material subseries contains printed material related to Donald Saff's life and career before and following Saff Tech Arts, focusing on him as an educator and artist and founder of Graphicstudio, and the legacy of the art collection Saff assembled. The artwork subseries includes various sketches and notes by Donald Saff, as well as a test print made for wither Saff or another artist.
Saff Tech Arts (later Saff & Co.) records includes correspondence, founding documents including funding, fabrication and supplies information, artist files documenting working relationships ranging from potential collaboration, to long-term fabrication and representation, regular business relationships such as Knoedler & Co., and legal and insurance information including leases and worksite assessments, and printed material including clippings and subject files. Correspondents are usually clients including collectors and galleries. Artist files document a range of interest and working relationships ranging from potential collaboration, to long-term fabrication partnerships including representation. Regular collaborators included Nancy Graves, Robert Rauschenberg, Roy Lichtenstein, James Turrell, and James Rosenquist. Materials include printed material, fabrication information, sales and consignments, exhibition planning, shipping documents, and damage and restoration documentation. Business records include inventory, sales and consignments including multiple artists, regular business relationships including Knoedler & Co., appointment books, fabrication schedules, employee timesheets, and legal and insurance documents including claims, disputes and leasing information, as well as the pursuit of trademarks on production techniques. Some materials are in digital formats.
Arrangement:
The collection is arranged as two series:
Series 1: Donald Saff Papers, circa 1710-2010 (9.6 Linear feet: Boxes 1-10, 33)
Series 2: Saff Tech Arts Records, circa 1970-2013 (22.2 Linear feet: Boxes 10-32, 34)
Biographical / Historical:
Donald Jay Saff, born in Brooklyn, New York, in 1937, is an artist, art historian, and fabricator in Oxford, Maryland known for close collaboration with leading American artists on the fabrication of technically complex artworks. He was exposed to printmaking while an undergraduate at Queens College in 1959, where he earned a B.F.A., followed by a master's degree in art history from Columbia University in 1960, and a M.F.A from Pratt Institute in 1962, and an Ed.D. in studio art and art history from Columbia University in 1964. In 1964 Saff was awarded a Fulbright grant which allowed him to study and work in Urbino, Italy. As an artist Saff created work and exhibited regularly throughout the 1980s. Donald Saff married Ruth Saff in 1960 and they have two sons, Stephen and Jeffery Saff.
Donald Saff was the founder of Graphicstudio in 1968 at the University of South Florida, where he was also chairman of the visual arts department. The studio became known for innovating new printing processes, including helio relief and waxtype. In 1971, Saff became the founding dean of the College of Fine Arts and was awarded the rank of distinguished professor at the university in 1982. In 1986, the National Gallery in Washington announced it would create an archive for all the work of Graphicstudio, a great tribute to Saff's accomplishment. Saff worked with a number of notable artists at Graphicstudio, creating collaborative bonds that would lay the ground for working together on his next venture. In 1991 Saff established his studio Saff Tech Arts (later Saff and Company) in Oxford, Maryland, partially thanks to a loan from key collaborator Robert Rauschenberg. During the early years of Saff Tech Arts Donald Saff also served as a gallery director to Knoedler and Co., which hosted exhibitions for many Saff Tech Arts collaborations. Other frequent collaborators include Nancy Graves, Roy Lichtenstein, James Rosenquist, and James Turrell.
Saff was later named Dean emeritus by University of South Florida in 1989, and distinguished professor emeritus in 1996. In 1999, Saff was awarded the honorary degree of Doctor of Fine Arts. As work at Saff Tech Arts slowed down Donald Saff became open to other opportunities in the arts, including a stint as Director of Capital Projects of the Solomon R. Guggenheim Foundation, New York, in 2001, followed by the appointment to Senior Curator of Prints and Drawings in 2002.
Provenance:
Donated in 2022 by Donald Saff.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more
information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of printmaker and educator Kenneth Kerslake measure 3.8 linear feet and date from circa 1900-2009. They illustrate his career through biographical material, correspondence, personal business records, printed and photographic material, and artwork. In addition to paper records, the collection also includes digital formats.
Scope and Contents:
The Kenneth Kerslake papers measure 3.8 linear feet and date from circa 1900-2009.
Biographical material includes two interviews, one with Kerslake and one by Kerslake, records relating to Kerslake's death, and a folder containing materials regarding Kerslake's son's time in the Navy. Correspondence includes letters from students, friends, and colleagues. Also included is correspondence concerning Kerslake's exhibition submissions and commissions and his teaching career at the University of Florida. Writings include a forward to a biography on Lee Chesney by Kerslake, miscellaneous typescripts of Artist Statements, and multiple record books containing writings and notes.
Personal business records consists of teaching material including notes, syllabi, and contracts from Kerslake's time at the University of Florida, as well as workshop files including the University of Georgia study abroad program in Cortona, Italy and Vitreography workshops at Littleton Studios in Spruce Pine, N.C., among others. Materials related to the CIF faculty and University of Colorado include digital formats. Printed Material includes two fellowship applications and exhibition catalogs featuring Kerslake's work. Also included are clippings, print proofs, and multiple transparencies used for printmaking designs. Photographic materials include photographs of Kerslake, his family and friends, and his exhibitions. Material relating to Kerslake's artwork and projects includes digital formats. Artwork includes multiple loose sketches and drawings by Kerslake.
Arrangement:
This collection consists of seven series.
Series 1: Biographical Material, circa 1930-2007 (.1 Linear feet: Box 1)
Series 2: Correspondence, circa 1952-2008 (.9 Linear feet: Box 1)
Series 3: Writings, circa 1965-2000 (.4 Linear feet: Box 2)
Series 4: Personal Business Records, circa 1971-2006 (.8 Linear feet: Boxes 2-3)
Series 5: Printed Material, circa 1952-2008 (1.2 Linear feet: Boxes 3-4)
Series 6: Photographic Material, circa 1900-2009 (.3 Linear feet: Box 5)
Series 7: Artwork, circa 1930-2004 (.1 Linear feet: Box 5)
Biographical / Historical:
Kenneth Kerslake (1930-2007) was a printmaker and educator who worked mainly in Florida.
Kenneth Kerslake was born in Mount Vernon, New York and went to school at the Pratt Institute in New York City to begin his formal art studies. He transferred from Pratt to the University of Illinois in Champaign in 1953 where he received both a Bachelor and Master of Fine Arts. In 1958 he joined the faculty of the University of Florida where he founded its Printmaking Program. In 1956, Kerslake married his wife Sarah "Sally" Allen, and they adopted two children Scott Paul in 1963 and Katharine Rachel in 1964.
Kerslake's first foray into lithography was in 1964 and was based on his paintings created in response to the assassination of President Kennedy. In the 1970s, Kerslake began his work using photograph processes in printmaking. In the late 1980s Kerslake spent the summer teaching with the University of Georgia's Summer Study Abroad Program in Cortona, Italy. In 1990, Kerslake became interested in Vitreography when he was invited to be an artist-in-residence to create in the technique at Littleton Studio in Spruce Pine, North Carolina.
His work is found in many museums, including a permanent display at the University of Florida's Samuel P. Harn Museum of Art.
Kerslake died on January 7th, 2007, in Gainesville, Florida.
Provenance:
Papers were donated in 2009 by Sarah Kerslake, widow of Kenneth Kerslake.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Kenneth Kerslake papers, circa 1900-2009 Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The 19 scrapbooks in this series are the collection's main source of Macbeth Gallery exhibition catalogs and related news clippings. Although incomplete, the scrapbooks provide fairly comprehensive coverage of the gallery's history and include material on day-to-day events at the gallery as well as important occasions such as the gallery's fortieth, fiftieth and sixtieth anniversaries, news of the art world in general and some photographs. Some of the scrapbooks also contain printed material related to art, exhibitions and events elsewhere. Many of the exhibition catalogs found here are annotated with prices and other notes. Notably missing is the catalog for the 1908 exhibition, The Eight.
See Appendix for a list of Macbeth Gallery exhibitions documented in Series 5: Scrapbooks.
Arrangement:
As some of the dates of the scrapbooks overlap, they were numbered 1-19 for clarity. The scrapbook cover for #3 is housed in Box 120, and the contents are housed in Box 122.
Appendix: Macbeth Gallery Exhibitions Documented in Scrapbooks:
This chronological list of Macbeth Gallery exhibitions is extensive, but incomplete. While an attempt has been made to establish the accuracy of the information provided here, dates and titles of exhibitions are not guaranteed to be accurate. Most of the exhibitions listed here are documented in the scrapbooks through exhibition catalogs and/or invitations, lists of artwork and news clippings. The list is annotated with AAA microfilm reel and frame numbers to assist researchers in locating material on specific exhibitions.
Scrapbook 1, 1892-1901
Dec. 7-21, 1892 -- Water Colors by American Artists (NMc1: 273-275)
Jan.23-Feb.11, 1893 -- Landscapes in Oil (NMc1: 276-277)
Feb. 27-Mar. 18, 1893 -- Landscapes in Oil by William Keith (NMc1: 278-279)
Mar. 20-Apr. 8, 1893 -- Watercolors by Dutch Artists (NMc1: 281-282)
Nov. 8-29, 1893 -- Second Annual Exhibition of Watercolors by American Artists (NMc1: 283-285)
Dec. 2-16, 1893 -- Drawings in Watercolors and in Black and White by C. R. Grant and Wilson De Meza (NMc1: 287-290)
Jan. 20-Feb. 3, 1894 -- Pictures and Sketches by Anton Mauve (NMc1: 291-292, 311-313)
Feb. 6-17, 1894 -- Paintings by Henry W. Ranger (NMc1: 295-296)
Jan. 21-Feb. 2, 1901 -- Pictures and Portraits by Wilbur A. Reaser (NMc1: 385)
Feb. 25-Mar. 9, 1901 -- Frederick Ballard Williams (NMc1: 394-395)
Feb. 4-16, 1901 -- Landscapes by Alexander H. Wyant and George Inness (NMc1: 390-391)
May 9-31, 1901 -- Paintings by Arthur B. Davies (NMc1: 400-402)
Nov. 29-Dec. 14, 1901 -- Watercolors, Color Prints from Wood Blocks and Etchings Printed in Color by Helen Hyde (NMc1: 405-406)
Scrapbook 2, 1893-1898
Primarily news clippings.
Scrapbook 3, 1902-1910
Feb. 3-15, 1902 -- Private Collection of American Pictures (NMc1: 2-5)
Mar. 17-29, 1902 -- Some Phases of London When the Lamps Are Lighted, Done in Pastel by Fernand Lungren (NMc1: 10-13)
Mar. 31-Apr. 5, 1902 -- Group of Pictures by Sidney Starr (NMc1: 13)
Apr. 1-12, 1902 -- Pictures by Robert Henri (NMc1: 15-16)
Apr. 14-26, 1902 -- Drawings by Jane Erin Emmet (NMc1: 21-22)
Apr. 28-May 11, 1902 -- Landscapes by W. L. Lathrop (NMc1: 20)
Jan 19-31, 1903 -- Drawings and Sketches by Homer D. Martin, 1836-1897 (NMc1: 27)
Jan. 27-Feb. 11, 1905 -- Pictures by William Sartain (NMc1: 37-39)
Feb. 23-Mar. 8, 1905 -- Paintings by Arthur B. Davies (NMc1: 62-64)
May 1-6, 1905 -- Oil Paintings by American Artists from the Macbeth Gallery (at the Galleries of George D. Brodhead, Rochester, NY) (NMc1: 69-72)
Jan 29-Feb. 10, 1906 -- Abbot H. Thayer and Gladys Thayer (NMc1: 77-78)
Feb. 19-Mar. 3, 1906 -- Pictures by Charles H. Davis (NMc1: 79-80)
Mar. 10-24, 1906 -- Stephen Parrish (NMc1: 81-82)
Nov. 9-24, 1906 -- A Group of American Paintings (NMc1: 91-92)
Jan. 11-26, 1907 -- Paintings by William Sartain (NMc1: 100-101)
Feb. 1-16, 1907 -- Paintings by Paul Dougherty (NMc1: 105-106)
Feb. 23-Mar. 9, 1907 -- Paintings by Charles H. Davis (NMc1: 107-108)
Mar. 11-23, 1907 -- Portraits by Ellen Emmet (NMc1: 112-113)
Mar. 28-Apr. 3, 1907 -- Paintings by William Keith (NMc1: 115-117)
Nov. 11-23, 1907 -- Paintings by Augustus Vincent Tack (NMc1: 124-125)
Nov. 27-Dec. 12, 1907 -- Paintings by John La Farge (NMc1: 127-131)
Jan. 6-18, 1908 -- Paintings by Jerome Myers (NMc1: 133-134)
Jan. 20-Feb. 1, 1908 -- Paintings by Paul Dougherty (NMc1: 137-138)
Feb. 3-15, 1908 -- Exhibition of Paintings by Arthur B. Davies, William J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice B. Prendergast, Everett Shinn, John Sloan (NMc:142-143 Catalog missing from scrapbook)
Feb. 19-Mar. 7. 1908 -- Forty Selected Paintings by Living American Artists (NMc1: 147-149)
Mar. 11-24, 1908 -- Paintings by a Group of American Artists (Deceased), Copley to Whistler (NMc1: 151-152)
1908 -- Kwaunon Meditating on Life by John La Farge (NMc1: 155)
Nov. 10-25, 1908 -- Paintings by Howard Pyle (NMc1: 158-159)
Nov. 27-Dec. 10, 1908 -- Paintings by Charles Melville Dewey (NMc1: 161-162)
Dec. 15-31, 1908 -- Bronzes by a Group of American Artists (NMc1: 165-166)
Jan. 7-21, 1909 -- Forty Selected Paintings by Living American Artists (NMc1: 168-169)
Jan. 22-Feb. 4, 1909 -- Paintings by Henry W. Ranger (NMc1: 171-172)
Feb. 5-18, 1909 -- Paintings by Paul Dougherty (NMc1: 176
Feb. 19-Mar. 4, 1909 -- Arthur B. Davies (NMc1: 178)
Mar. 5-Mar. 18, 1909 -- Paintings by Charles H. Davis, N.A. (NMc1: 183-184)
Mar. 19-Apr. 1, 1909 -- A Group of Figure Subjects by Blendon Campbell, Charles W. Hawthorne, Robert Henri, George Luks, Kenneth Miller (NMc1: 186-187)
Apr. 2-15, 1909 -- Paintings by Louis Loeb (NMc1: 188-189)
Apr. 16-29, 1909 -- Paintings by a Group of Boston Artists (NMc1: 191-192)
May 10-22, 1909 -- Paintings by American Artists from the Macbeth Galleries, New York [at Findlay Art Co., Kansas City, MO] (NMc1: 195-197)
Nov. 18-Dec. 4, 1909 -- Paintings by Albert P. Lucas (NMc1: 203-205)
Dec. 7-24, 1909 -- Watercolors and Pastels by American Artists (NMc1: 207-210)
Dec 7-24, 1909 -- Second Annual Exhibition of Bronzes by American Sculptors (NMc1: 211-212)
Jan. 6-19, 1910 -- Sixteen Paintings of the Cornish Coast by Paul Dougherty (NMc1: 213-215)
Jan. 20-Feb. 2, 1910 -- Paintings by Mary Curtis Richardson of San Francisco (NMc1: 218-220)
Jan. 20-Feb. 2, 1910 -- First Exhibition of Paintings by Ben Foster (NMc1: 216-218)
Feb 3-16, 1910 -- Landscapes and Figures by Frederick Ballard Williams (NMc1: 227-229)
Feb. 3-16, 1910 -- Spanish Paintings by F. Luis Mora (NMc1: 225-227)
Feb. 17-Mar. 2, 1910 -- The Fur Jacket by J. McNeill Whistler (NMc1: 231-232)
Feb. 17-Mar. 2, 1910 -- Paintings by William Sartain (NMc1: 233-235)
Mar. 3-16, 1910 -- Fourteen Landscapes by Charles H. Davis (NMc1: 237-239)
Mar. 3-16, 1910 -- Recent Portraits by Cecilia Beaux (NMc1: 239-240)
Mar. 17-30, 1910 -- Paintings by Hermann Dudley Murphy (NMc1: 244-246)
Mar. 17-30, 1910 -- Figure Paintings by Charles W. Hawthorne (NMc1: 242-244)
Mar. 31-Apr. 13, 1910 -- Paintings of Baily's Island by Frederick J. Waugh (NMc1: 249-251)
Mar. 31-Apr. 13, 1910 -- Nineteen Landscapes by Chaucey F. Ryder (NMc1: 247-249)
Apr. 14-27, 1910 -- George B. Luks (NMc1: 253-255)
Apr. 30-May 14, 1910 -- The Woman's Art Club of New York, Exhibition of Works in Oil and Sculpture (NMc1: 259-262)
Scrapbook 4, 1907-1913
Primarily news clippings.
Scrapbook 5, 1910-1915
Nov. 3-16, 1910 -- Recent Paintings by Charles W. Hawthorne (NMc2: 1-2)
Nov. 17-30, 1910 -- The Navajo Country in Watercolors by Frederick J. McComas (NMc2: 4-6)
Dec. 6-24, 1910 -- Watercolors, Pastels and Small Bronzes (NMc2: 7-14)
Jan. 5-18, 1911 -- Portraits by Ellen Emmet (NMc2: 15-16)
Jan. 19-Feb. 1, 1911 -- Paintings by Henry B. Snell (NMc2: 17-24)
Feb. 2-22, 1911 -- A Group of Thirty Selected Paintings (NMc2: 25-28)
Feb. 23-Mar. 8, 1911 -- A Group of Forty Selected Paintings (NMc2: 29-32)
Mar. 9-22, 1911 -- Paintings by Charles H. Davis, Paul Dougherty, Daniel Garber, William Sartain, F. Ballard Williams (NMc2: 33-35)
Mar. 23-Apr. 5, 1911 -- A Group of Paintings by Ben Foster, Albert L. Groll, Leonard Ochtman, Chauncey F. Ryder, Gardner Symons (NMc2: 36-38)
Apr. 8-22, 1911 -- The Woman's Art Club of New York, Exhibition of Works in Oil and Sculpture (NMc2: 39-42)
Nov. 16-29, 1911 -- Landscapes, Marines and Wood Interiors by Robert Henri (NMc2: 45-48)
Dec. 6-30, 1911 -- Small Bronzes by American Sculptors (NMc2: 49-52)
Dec. 2-15, 1913 -- Second Exhibition by the Society of Men Who Paint the Far West (NMc2: 172-176)
Jan. 1914 -- Drawings of Game Birds by Frank W. Benson (NMc2: 179-180)
Jan. 6-19, 1914 -- Paintings by Emil Carlsen, Paul Dougherty, Frederick C. Frieseke, Childe Hassam, Willard L. Metcalf, Kenneth H. Miller, J. Alden Weir (NMc2: 179, 181-183)
Feb. 10-Mar. 2, 1925 -- Water Colors of Egypt and Jerusalem by Taber Sears (NMc3: 126, 129-130)
Feb. 10-Mar.2, 1925 -- The New England Year in Paintings by Charles H. Davis (NMc3: 126-128)
Mar. 3-23, 1925 -- Paintings by E. W. Redfield (NMc3: 131-133)
Mar. 24-Apr. 13, 1925 -- Paintings by Daniel Garber (NMc3: 135-138)
Apr. 14-May 4, 1925 -- Recent Paintings by Robert Henri (NMc3: 140-143)
Apr. 14-May 4, 1925 -- C. W. Hawthorne: Watercolors of Bermuda (NMc3: 139)
Oct. 13-26, 1925 -- Collection of American Masters Loaned for Exhibition (NMc3: 152-154)
Oct. 27-Nov. 16, 1925 -- Memorial Exhibition of Paintings by the Late William Sartain (NMc3: 155-158)
Nov. 7-23, 1925 -- Paintings by Contemporary American Artists Loaned by the Macbeth Galleries, New York, Engaged by the Muncie Art Students' League, Muncie, Indiana (NMc3: 147-148)
Nov. 17-Dec. 7, 1925 -- Paintings by DeWitt and Douglass Parshall (NMc3: 159-162)
Dec. 4-31, 1925 -- Easel Paintings by American Artists, Loaned by Macbeth Galleries to the Springfield Art Association (NMc3: 205, 207)
Dec. 8-Jan. 4, 1926 -- Watercolors by Distinguished American Artists (NMc3: 163-166)
Jan. 5-25, 1926 -- Recent American Portraits (NMc3: 168, 172-173)
Jan. 5-18, 1926 -- American Society of Miniature Painters, 27th Annual Exhibition (NMc3: 168-171)
Jan. 26-Feb. 15, 1926 -- Paintings by Jonas Lie (NMc3: 176-179)
Jan. 26-Feb. 15, 1926 -- First Exhibition of Paintings by John Huffington (NMc3: 176, 180-181)
Feb. 7-Mar. 17, 1926 -- Exhibition of Oil Paintings by American Artists Lent by the Macbeth Galleries to the Utica Public Library Art Gallery (NMc3: 205-206)
Feb. 16-Mar. 8, 1926 -- New Paintings by Charles W. Hawthorne (NMc3: 186-189)
Feb. 16-Mar. 8, 1926 -- Chauncey F. Ryder (NMc3: 184)
Jan. 18-31, 1927 -- Watercolors by John Lavalle of Boston (NMc3: 253-255)
Jan. 22-Feb. 7, 1927 -- Crapo Gallery Opening Exhibition: Thirty Paintings by Thirty Artists assembled by Macbeth Gallery at Swain School, New Bedford, Mass. (NMc3: 245-249)
Feb. 1-14, 1927 -- Recent Paintings by Frank W. Benson (NMc3: 259-262)
Feb. 2-14, 1927 -- American Society of Miniature Painters, 28th Annual Exhibition (NMc3: 253, 256-258)
Feb. 8-26, 1927 -- Works by American Artists Selected by the Associated Dealers in American Paintings, Inc. at Anderson Galleries (Macbeth Gallery one of nine participants (NMc3: 263, 265-271)
Feb. 15-28, 1927 -- New Paintings by Chauncey F. Ryder (NMc3: 278-281)
Mar. 1-14, 1927 -- Watercolors by Aiden L. Ripley (NMc3: 282, 286)
Mar. 1-14, 1927 -- Paintings by a Group of Members of the Guild of Boston Artists (NMc3: 282-285)
Mar. 15-28, 1927 -- Paintings by Malcolm Parcell (NMc3: 287-290)
Mar. 15-28, 1927 -- Recent Pastels of Chartres by Carl Schmidt (NMc3: 287)
Mar. 29-Apr. 18, 1927 -- Thirty-fifty Anniversary Exhibition, Retrospect and Prospective (NMc3: 291-294)
Apr. 19-May 9, 1927 -- Frank A. Brown, Watercolors (NMc3: 296, 302-303)
Aug. 22-Sept. 5, 1927 -- American Art Exhibition arranged for Eastern Long Island by the Macbeth Gallery at Southampton, NY (NMc3: 297-301)
Oct. 18-29, 1927 -- American Art Exhibition, Art League of Fort Worth, Assembeled by the Macbeth Gallery (NMc3: 304, 306-311)
Oct. 18-31, 1927 -- Etchings by Walter Raymond Duff (NMc3: 313-315)
Oct. 18-31, 1927 -- Paintings by Max Bohm (NMc3: 313-315)
Nov. 1-14, 1927 -- Yankee Whalers by Clifford W. Ashley (NMc3: 316-317)
Scrapbook 11, November 1927-June 1930
Nov. 15-28, 1927 -- Paintings of Mallorca by Bernhard Gutmann (NMc3: 319-320)
Nov. 15-28, 1927 -- Paintings of Flowers by Carle J. Blenner (NMc3: 319, 321)
Nov. 29-Dec. 12, 1927 -- The Bathers , Paintings by William S. Horton (NMc3: 322-325)
Nov. 29-Dec. 12, 1927 -- Sidewalks of New York, Chalk Drawings by H. Devitt Welsh (NMc3: 326-327)
Dec. 13-31, 1927 -- Joint Exhibition of Paintings by Daniel Garber and Stanley Woodward (NMc3: 328)
Jan. 3-23, 1928 -- Recent Paintings by Jonas Lie (NMc3: 329-330)
Jan. 24-Feb. 13, 1928 -- Watercolors by John Lavalle (NMc3: 332-334)
Jan. 24-Feb. 13, 1928 -- Walter Ufer: Pictures from Taos (NMc3: 332, 334)
Jan. 24-Feb. 6, 1928 -- American Society of Miniature Painters, 29th Annual Exhibition (NMc3: 337-340)
Feb. 7-21, 1928 -- Small Pictures of Mountain and Sea by Jay Connaway (NMc3: 342)
Feb. 14-27, 1928 -- The Canadian Rockies by Belmore Brown (NMc3: 342-343)
Feb. 14-27, 1928 -- Sculpture by Gleb Derujinsky (NMc3: 342-344)
Feb. 21-Mar. 5, 1928 -- Watercolors of Venice, Spain and Brittany by Frank A. Brown (NMc3: 351-356)
Feb. 21-Mar. 10, 1928 -- Works by American Artists Selected by the Associated Dealers in American Paintings, Inc., at Anderson Galleries; Macbeth Gallery one of sixteen participants (NMc3: 346-352)
Feb. 25-Mar. 17, 1928 -- The Macbeth-Milch Circuit Exhibition of Contemporary American Paintings at Grand Rapids Art Gallery (NMc3: 385-387)
Feb. 28-Mar. 12, 1928 -- Paintings by Frank L. Schenk, 1856-1927 (NMc3: 357-358)
Mar. 20-Apr. 2, 1928 -- Lanscapes of Italy by A. Sheldon Pennoyer (NMc3: 366, 368)
Mar. 20-Apr. 9, 1928 -- Recent Landscapes, Switzerland and Other Subjects by Carl Lawless (NMc3: 366-367)
Apr. 2-15, 1928 -- Water Colors by Earl Winslow (NMc3: 355)
Apr. 10-30, 1928 -- St. Ives by Hayley Lever (NMc3: 369)
Apr. 29-May 20, 1928 -- The Macbeth-Milch Circuit Exhibition of Contemporary American Paintings at the University of Wyoming (NMc3: 385-386)
Spring, 1928 -- American Painting for Home Decoration (NMc3: 370-377)
Oct. 16-29, 1928 -- The Canadian Rockies in Watercolors by J. Olaf Olson (NMc3: 389-392)
Nov. 7-24, 1928 -- Etchings by Sears Gallagher (NMc3: 393)
Nov. 13-26, 1928 -- Sand Dunes and Flowers by Frederick Lowell (NMc3: 393-394)
Nov. 26-Dec. 17, 1928 -- Etchings by Carlton T. Chapman (NMc3: 395)
Nov. 27-Dec. 10, 1928 -- Portraits by Ernest L. Ipsen (NMc3: 396-397)
Dec. 4-31, 1928 -- Etchings by Margery A. Ryerson (NMc3: 395)
Dec. 11-24, 1928 -- Landscapes in Watercolor and Gouache by H. Anthony Dyer and Character Studies in Watercolor and Pastel by Nancy Dyer (NMc3: 398-400)
Jan. 2-14, 1929 -- Figures and Landscapes by the Late J. Alden Weir, 1852-1929 (NMc3: 401-402)
Jan. 15-28, 1929 -- Paintings by H. Dudley Murphy; Watercolors by Nellie Littlehale Murphy (NMc3: 404-405)
Jan. 15-28, 1929 -- Portraits by William James (NMc3: 406-407)
Feb. 4-18, 1929 -- Twenty-five Etchings by Harold Denison (NMc3: 410, 416-417)
Feb. 5-18, 1929 -- Paintings by Emil Carlsen and Dines Carlsen (NMc3: 408-409)
Mar. 5-18, 1929 -- Marine Paintings by Stanley W. Woodward (NMc3: 419-423)
Mar. 19-Apr. 1, 1929 -- Watercolors by Frederick C. Frieseke (NMc3: 424-425)
Mar. 19-Apr. 1, 1929 -- Pastels of Louisiana by Will H. Stevens (NMc3: 424)
Apr. 1929 -- Paintings by Childe Hassam (NMc3: 433-438)
Apr. 2-15, 1929 -- Paintings by Arthur Meltzer (NMc3: 431)
Apr. 2-15, 1929 -- Watercolors by Earle B. Winslow (NMc3: 431)
June, 1929 -- Old Mill Afternoon by Childe Hassam, Ainslie Galleries, Inc., Detroit in collaboration with Macbeth Gallery (NMc3: 465-467)
Oct. 1-14, 1929 -- Portraits in Oil and Pastel by Paul Swan (NMc3: 472-473)
Oct. 15-28, 1929 -- Exhibitions from the Summer Colonies: No. 1, Lyme (NMc3: 476-477)
Oct. 19-29, 1929 -- Milch-Macbeth Exhibition of Prints and Paintings by American Artists at the High Museum under the auspices of the Atlanta Art Association (NMc3: 462)
Oct. 20-Nov. 11, 1929 -- Memorial Exhibition of Paintings by John Huffington (NMc3: 476-479)
Nov. 12-25, 1929 -- Exhibition from the Summer colonies: No. 2, Selections from the North Shore Arts Association of Gloucester (NMc3: 480-481)
Nov. 26-Dec. 3, 1929 -- Recent Landscapes by Charles H. Davis (NMc3: 482-483)
Dec. 10-Dec. 23, 1929 -- Watercolors by J. Olaf Olson (NMc3: 484-486)
Dec. 24-Jan. 6, 1930 -- Exhibitions from the Summer Colonies: No. 3, Mystic (NMc3: 487-488)
Jan. 7-20, 1930 -- Paintings of Wyoming Days and Nights by Ogden N. Pleissner (NMc3: 490, 492)
Jan. 21-Feb. 3, 1930 -- Landscapes by Aldro T. Hibbard (NMc3: 490-491)
Feb. 8-21, 1938 -- Vermont in Watercolors by Stanford Stevens (NMc4: 541-542)
Feb. 8-21, 1938 -- Modern American Interior: Prizewinning Design and Selected Drawings from a Competition Sponsored by James H. Blauvet and Associates, Interior Designers (NMc4: 543)
Feb. 23-Mar. 7, 1938 -- Herbert Dickens Ryman (NMc4: 546)
Mar. 1-14, 1938 -- Paintings and Watercolors by Anne Goldthwaite (NMc4: 546-547)
Mar. 8-21, 1938 -- Recent Watercolors of Woodstock, Charleston, New England by John W. Taylor (NMc4: 548-549)
Mar. 22-Apr. 11, 1938 -- Jon Corbino (NMc4: 554-561)
Apr. 12-25, 1938 -- Paintings by Ohio Artists (NMc4: 580-571)
Apr. 26-May 9, 1938 -- Paintings by Furman Joseph Finck (NMc4: 572-573)
May-June 1938 -- Winslow Homer: Watercolors and Early Oils from the Estate of Mrs. Charles S. Homer and Other Sources (NMc4: 574-579)
Oct. 4-28, 1938 -- Opening Exhibition (NMc4: 581)
Nov. 1-23, 1938 -- Dale Nichols, Watercolors and Tempera of Alaskan Subjects (NMc4: 582-583)
Nov. 29-Dec. 19, 1938 -- Sea Island Country Watercolors by Horace Day (NMc4: 584)
Jan. 10-30, 1939 -- Herbert Meyer (NMc4: 588-589)
Feb. 7-27, 1939 -- American Watercolors Past and Present (NMc4: 592-597
Mar. 7-Apr. 3, 1939 -- Monhegan by Jay Connaway (NMc4: 602-603)
Apr. 5-24, 1919 -- Oils and Watercolors by Ogden M. Pleissner (NMc4: 606-607)
May 2-22, 1939 -- Paintings by Francis Chapin, Antonio P. Matino, and Moses Soyer and Drawings by Jon Corbino (NMc4: 609-611)
Fragile original scrapbooks are closed to researchers. For more information, please contact Reference Services.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB 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 106.3 linear feet and 0.181 GB 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 2008-2022 additions include 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 1965-1999, 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 and digital 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.
Missing Title
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, 101-117, BV100; 52.3 linear feet, ER01-ER02; 0.181 GB)
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:
Missing Title
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.
Missing Title
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 and an additional 8.4 linear feet in 2012-2017 and 6.0 linear feet in 2022.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. A fragile original scrapbook is restricted. Contact Reference Services for more information.
Rights:
Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.