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September 11th., 1942.

Dear Mr. Milliken:

Unfortunately I have to tell you that my dear friend and associate for so many years, Hans Waegen, passed away just over a week ago. However, I think you would like to hear that almost until the very end, he was looking forward with enthusiasm to the possibility of seeing the lovely RENOIR "Mlle. Romaine Lacaux" become part of the permanent collection of the Cleveland Museum.

My absence from New York (I was recuperating in Lake Placid from an operation), the gallery being closed for the month of August, and Hans' inability to hold telephone conversations of any length, due to his shortness of breath and the consequent strain, leave me in ignorance of many elements regarding the developments of this matter. For instance, I do not know what correspondence was exchanged, as, if any existed, it has remained with the personal effects of Mr. Waegen and I have not yet come across the letters. All that is definite in my mind is that Hans sent the painting to your museum on approval!

I am wondering, for instance, whether you know that the price of the Renoir is $60,000.!

A little while after the painting had been shipped, Hans, apparently feeling that there was a serious interest on your part, communicated with me and inquired what would be the lowest price I could accept, should this interest materialize. Realizing as I do so well, that my firm has never sold a painting of the quality and importance of the Renoir to your museum, and being most anxious to do everything possible to facilitate the deal, I spontaneously told him that I would make a tremendous concession, and said that he might quite you the "rock bottom" figure of $46,000. Did his physical condition allow him to transmit this to you? — I don't know. However, in a very difficult telephone conversation a short time afterwards, Hans told me he had received an offer of $40,000., from you, which leads me to believe time had not permitted him to quote you this very special figure of $48,000. We never had another opportunity to discuss the matter as his illness had tightened its grip. Otherwise, I would have asked him to convey to you my inability to accept your offer.

As you probably know, this portrait has a wide appeal, and ever since it was shown for the first time in this country, in the great Renoir show of last Winter, I have received innumerable inquiries and several offers both from museums and private collectors. However, the importance I attach to it is not alone due to these public applause. From the moment I saw the painting — at the great Exhibition of French Art, at Burlington House in 1932 — I was eager to own it. When, a few years later, my firm acquired "Le Bal" (Boston Museum) I tried unsuccessfully, to have this portrait, which as you know, comes from the same collection, linked with that deal, but the owners refused to sell — and it was not until just before the outbreak of the war that I received a cable stating a price at which the picture could be purchased. 

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