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August 11th., 1951.

Dear Mr/ Cullers:

The seeming delay in acknowledging your nice letter of the 26th., is due to the fact that the gallery is closed now, and mail has to go through the hands of our attorneys who re-direct it to the proper parties.

As you so kindly allow me to make suggestions, I shall try to contact several of the print-artists I know, asking them to communicate with you. Among these will be - Margaret Lowengrund, Will Barnet, John von Wicht, Seong Moy, some of whom you may already have chosen, but no harm will be done by duplicating the contacts. I do not handle handle their work, as all have other galleries, but they are friends and will be interested. Incidentally, neither Eleanor Coen nor Tom Idas are of my group, not do I know them. 

Will the following biographical material be sufficient:

ROSS ABRAMS: 
Born in Richmond, Virginia, September 16, 1920
Graduated from the Richmond Professional Institute of the College of William and Mary, 1942, with Bachelor of Fine Arts Degree. 
March 1946-May 1950, Art Students League - with Sternberg, V [[strikethrough]] i [[/strikethrough]] ytacil, Kantor, Barnet. 
Exhibited:
Speed Museum, Louisville; Penna. Academy; Philadelphia Print Club, Virginia Museum, Butler Art Institute; Smithsonian Institute; etc., etc.
Purchase awards:
Virginia Museum, 1941
Northwest Printmakers, 1948 - Seattle, Wash. 
Represented:
Virginia Museum, Seattle Art Museum, Museum of Modern Art, Library of Congress.

RICO LEBRUN:
Born in Italy, 1900.
Guggenheim Fellowship 1935-36, 1936-37
1947, First Prize, Chicago Art Institute's "Abstract and Surrealist Art"
1948, First Prize, "Artists of Los Angeles and Vicinity", Los Angeles.
1949, [[strikethrough]] First Prize [[/strikethrough]] Purchase Prize, Contemporary Art Exhibition, University of Ill.
1950, Second Prize, Matropolitan Museum's "American Painting Today."

Note:
For the past three or four years, while carrying out his great series of paintings known as the "Crucifixion" Lebrun has been concerned with elements related to that theme, and in that connection carried out many studies of "armed plants" and "armed animals", some of which were carried into the final paintings composing the series.