JOB 94-3, [11] Handwritten picture postcard from Schenker to Hammer, dated July 26, 1925

Schenker inquires as to Hammer's whereabouts, referring to a current scandal surrounding the Albertina gallery in Vienna. He asks about "the first print."

OJ 11/36, [23] Handwritten letter from Hammer to Schenker, dated October 6, 1925

Hammer encloses as a gift two prints of his mezzotint of Schenker; Weisse will convey to Schenker a print from which the printing block of the mezzotint can be made for Die Musik's purposes. -- The Albertina has just purchased one of the proofs.

JOB 94-3, [16] Handwritten letter from Schenker to Hammer, dated November [recte October] 11, 1925

Schenker reports that the tube [containing a print of the mezzotint portrait of him, for making a printing block] has been sent to the publisher [of Die Musik], and he now waits to see whether the latter will commission an article to accompany it. He comments on the Albertina's purchase of a print of the portrait.

OJ 6/7, [25] Handwritten letter from Schenker to Moriz Violin, dated October 25, 1925

In this wide-ranging letter, Schenker commiserates with Violin about the high cost of living, and his inability to raise his fees to keep up with it (in particular, he feels unable to ask the wealthy Hoboken to pay more than his other pupils). He reports on sales of a medallion bearing his image, and the imminent arrival of a mezzotint of his portrait, made by Viktor Hammer, of which his brother Moses Schenker has bought the original drawing. Vrieslander will write an essay about his work in Die Musik, accompanied by the portrait, and things are now going well with the corrections to Meisterwerk 1 and the writing of Meisterwerk 2.

Diary entry by Schenker for 16 September 1920

Diary entry by Schenker for 9 October 1925