MS01.03.03.B11.F15.0003

[Illustration on right-hand corner of letter depicting a head being surrounded by a pen, an inkwell and "sign sign sign sign" written across the botton while a curlique scroll says "Sign No!"]
I had to return to Maine by way of Boston.
Several conversations ensued including various correspondences of different types about the contract that I had been asked to sign by the LACMA. I delayed signing until late September as I wanted to be certain that all legal matters had been taken care of in the one sent. MY LAWYER IN FREEPORT, ME had already looked over the document sent by LACMA and advised that I should have a more clearly written document presented before agreeing to sign. Another document was prepared by the museum which read to my satisfaction with a rearranged pay schedule given. I signed it mid October and began the general work of writing known sources of art for the show.
Several letters were sent out to artist whom I knew would be interested in showing. I made my first official trip to select work and single out advice in mid November. I went to New York City to consult with artist there.
On November [blank], I visited Hale Woodruff at his "Village" residence and viewed a number of current drawings and earlier paintings. He explained about his health and the pace at which he then worked in contrast to his youthful years. While I was at his residence, where he maintains a small studio, I was able to acquire a charcoal drawing called "Torso" for the Fisk University collection. He gave very sound advice about the organizational structure of such a show as the one I was organizing.
[Illustration at left lower corner of the letter depicts three faces]
Hale Woodruff did several compositions in the 1950s which had African art related themes. He owns a fine small collection which is displayed in his studio. He told of how he [,] Spinkey Alston, Romare Bearden and other Black artists in the New York area got together and organized the Spiral Group in the late 1950s - early 60s.