The professional correspondence relates mainly to Walter Crane's dealings with his publishers and printers, and is arranged as follows:
- Letters from Edmund Evans Company, printers (WCA/2/1/2/1 );
- Letters from Joseph Straker, regarding the design of the Du Maurier Silver Cup (WCA/2/1/2/2 );
- Correspondence with Metford Warner, Jeffrey & Co., regarding Crane's designs for wallpaper (WCA/2/1/2/3 );
- A series of letters from various individuals regarding the Royal Institute of Painters in Water Colour Masque of 1885 (WCA/2/1/2/4 );
- Letters from William Morris and the Kelmscott Press, primarily concerning Crane's work on Morris's Story of the Glittering Plain of 1891 (WCA/2/1/2/5 );
- Letters from Frederick Macmillan of Macmillan & Co., publisher (WCA/2/1/2/6 );
- Letters from the publisher George Allen, and others regarding the publication of Edmund Spenser's Faerie Queene (WCA/2/1/2/7 );
- An extensive series of correspondence with the publisher John Lane regarding Walter Crane's Picture Book Series (WCA/2/1/2/8 );
- Letters from J.M. Dent & Co., publisher, including letters from Nellie Dale (WCA/2/1/2/9 );
- Letters from Professor A. Fradeletto, of Venice, regarding the sale of Crane's painting Freedom (exhib. 1885) (WCA/2/1/2/10 );
- Correspondence with Leighton, Son & Hodge, bookbinders (WCA/2/1/2/11 );
- Letters from Harry P. Gill, National Art Gallery of Australia, regarding Crane's painting Fate of Persephone (WCA/2/1/2/12 );
- Letters from various individuals relating to the painting Renaissance of Venus (1877) (WCA/21/2/13 );
- Correspondence with Cassell & Co., publisher, regarding A Flower Wedding (1905) (WCA/2/1/2/14 );
- Correspondence with the publisher George Bell & Sons (WCA/2/1/2/15 );
- Letters from Arthur Lasenby of Liberty & Co. (WCA/2/1/2/16 ).