[Gari Melchers, American naturalist artist.] Autograph Letter Signed ('Gari Melchers') to 'Wriggles' [Henriette Lewis-Hind?], regarding book and exhibition at Anderson Galleries, New York, with reference to William Edwin Rudge and Mitchell Kennerly.

The name of the recipient is not clear: it would appear to read 'Wriggles', and the letter suggests that this is a pet name for Melchers' close friend Henriette Lewis-Hind, who wrote the foreword to 'Gari Melchers, Painter', published that same year in New York by W. E. Rudge. An excellent letter, full of content, beginning: 'My dear [Wriggles?]. | We only returned from the West Indies a week or two ago – had a fine time'. He continues: 'I have been busy here – but leave today for home to stay there a week or two – Corinne [his wife the artist Corinne Lawton Mackall Melchers (1880-1955)] sent me your letter – and it seems as tho a letter by you written some time ago never reached me'. He announces that the 'G. M. exhibition at the Anderson Galleries is to open Jan first 1929 – and last for four weeks'. He has seen the president of the Anderson Galleries Mitchell Kennerly (1878-1950) several time in recent weeks, 'and he has been very nice and in earnest about the whole project, everything is arranged and O.K. and we both agree that it must be done just as well as is humanly possible. | Yesterday we had a meeting or conference in my studio at which Mr Rudge [William Edwin Rudge (1876-1931)], the publisher of the very finest books made, was present, and he is willing to go into the thing and turn out a fine book. You are to write the text.' Rudge 'suggests fifty black and white reproductions a few color prints – and some drawings or sketches interwoven'. For his part Melchers is 'most eager to see some facsimilae [sic] of watercolor & sketches – and drawings, which make it more of an art book – than a picture book – but it seems that all this kind of work I suggest is most costly – and may, much to my regret, have to be cut down to a minimum – sorry!' Kennerly is 'leaving for Europe in a week or two – and you will see him in London – and hear all this first hand – and know exactly what the exact situation is'. Turning to another matter, he writes that he is enclosing a draft for £500, 'which you said at the time was what I could have the Shannon portrait for – and I want to stop it being hawked about.' (The reference is to the portrait of Melchers by James Jebusa Shannon (1862-1923), now at the Gari Melchers Estate and Memorial Gallery, Belmont.) If she can sell the portrait to a museum before the following July, 'and get more money for it – you can do so – and return to me the money I have paid for the picture'. He also thinks he might show the portrait at his January exhibition. 'All this in haste – as I am about to leave for Virginia.' In a postscript, regarding the writing of the text for the Rudge book, he writes: 'You may be tempted to limit my life to Egmond – so be on guard and remember that my activities cover many other periods and places'.