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Arthur Sachs, Esq. April 20, 1942
Constantia
Santa Barbara
California

Dear Mr. Sachs:

Your letter of March 16th, sent to me in care of the Joslyn Memorial, reached me a few days ago! It had inadvertently been filed away by a secretary at the museum, and I had been somewhat puzzled by references in their recent correspondence with me which seemed to indicate that some of your paintings were to be lent "for the duration", and that I was familiar with the matter. I had, of course, replied that I knew your paintings and that any of them would be a great addition to our other loans. Finally your letter to me was dislodged and sent on.

The paintings will be in good company. I was able to arrange to have some of Mr. Philip Lehman's finest things lent to us and to Kansas City, and in Omaha we have taken many of John Nicholas Brown's treasures, a group from Mr. Levinson's collection, and many things from San Diego and other museums on both the Atlantic and Pacific seaboards. The building is one of the handsomest museum structures in the country and has air-conditioning installation, splendid galleries and storage. I hope you will stop off to see it sometime when you come this way, as well as the beginnings of the permanent collection which I have been retained to build for the Trustees there.

Germain Seligmann had been discussing your wonderful Tintoretto with me for some time. You may have seen in the March 1st "Art News" the first group of paintings which the Trustees purchased on my recommendation. I would like very much to add to that group, if it were possible, the Tintoretto which I have admired so ardently for many years. It is certainly the most thrilling example of the great Venetian master's art in this country; and as we now have the ex-Erickson Titian portrait of a man with a falcon, I would like to avoid purchasing a Tintoretto portrait-there are are several good ones on the market-and concentrate on some outstanding example of a religious or allegorical nature. But I am afraid that the matter may be difficult to discuss with the trend of art works as it is, for I imagine that you would not care to consider selling the Tintoretto much under the price at which you purchased it. However, now that the painting is to be at the Memorial for a time, where I can discuss it with the Director and Trustees, I will take the matter up again with Seligmann, after I have been to Omaha.