[1] October 4, 1928 Dr. Philip G. Cole 470 Vanderbilt Ave. Brooklyn, New York Dear Philip: Your letter of September 26th received. Thank you for the copy of your letter to Mr. Maule and I believe they will only use the last letter that Charlie wrote but I will see about the other things when I am in New York which will be October 24th as that is the date the small exhibition opens at the Grand Central. The other things that you have of Charlie’s, like the poem, if not used in this book, I would like to reserve the promise to borrow them for a future book to be gotten out. I am sure you are simply swamped by Russell pictures that have been gathered up over the west, things that are absolutely impossible because I hear of things all the time that are being sent to you for your approval. Among them you will find something that will interest you sometime I am sure. I have you in mind whenever I see a Russell picture as you have the finest collection and some day it will be for Charlie like the Huntington collection here is for Gainsborough and Reynolds and those old English artists and while I live I would like to feel that I have been some help in getting together the finest of Charlie’s. Regarding your Father de Smedt picture, we talked about it as you remember last winter and if you are un- happy with it as it is and must have it finished, I am perfectly honest in saying that I believe Olaf would come as near doing it like Charlie as anyone. He worked with him and studied his work and can copy his work to such a degree that I believe, if it must be worked on to make you happy, he would be the right person. Now Philip, I have said a lot when I have said just this last sentence because, personally, I feel when anybody puts a brush with paint on it on that canvas it is not Charlie’s any longer. Just wait a little while longer and see if you don’t feel differently about it and not want to have it worked on. [2] Dr. Philip G. Cole -2- Brooklyn, New York October 4, 1928 With your collection the unfinished condition of that canvas adds much to the other finished pic- tures, as it shows the method or way Charlie worked and on one of the finest pictures he ever attempted, as he himself said, “I’m going to make a good picture out of it but there is a lot of work on it.” If you didn’t have other perfectly finished paintings by Charlie that showed the finished product, then I would be more inclined to say let someone work on your Father de Smedt, but I must again emphasize the fact that it is a perfect example of Russell work in the making and no finer background has ever been painted by Charlie than you have on that canvas and as the years go by it will grow more valuable, but if it has been touched by anyone that puts oil paint on it that cannot be removed , I fear you will be damaging and lessening the value of your picture – but Gee whiz I can’t tell you for sure as it may be just my own feelings. I do want to tell you though Con Kelley has the decoration that Charlie was making for him and he said he would not have anyone touch it for anything and it isn’t nearly as complete as your pictures as there are no figures finished in it at all. They are just sug- gested and not then if you don’t know where they were to have been. But you must be happy with your pictures and if you are going to be happier with your pictures having that one finished up more I am going to say by all means have it done but think pretty straight about its value hereafter and so many different angles of it before you have it touched. I am looking forward to seeing you and your family when I am in New York and I will probably get in there the night of October 23rd. I think I shall go to the Commodore as I did last year. Then we can talk about the possibilities of having work cone on that lovely canvas. I am going to bring “The Stranglers”, that oil of the bear being roped by a couple of cowpunchers so that you can see it. With kindest regards. Sincerely, [Transcribed by Lauren B. Gerfen, 2012-06-04]