The paperwork catches up with reality… finally:

“To prepare for the impending dissolution of the partnership, Asch began to make an inventory of his masters. On one list he enumerated the masters he had recorded between 9 December 1940 and 3 January 1943, that is, until the time of the partnership. These would be off limits to [Herbert] Harris. A second list consisted of the masters recorded since the partnership and until the present – 25 November [1945]. Two contracts were ultimately signed by Asch, Harris, Harris's partner Irving Prosky, and their repsective lawyers. The essence of the first contract, dated 2 December, was that Asch would sell to Harris and Prosky, for the sum of $6,267, all of the masters on the 25 November list, although, perhaps for sentimental reasons, Asch exempted In the Beginning, “Kol Nidre/Eli Eli,” and his second Leadbelly album. For a period of fifteen months Harris and Prosky would be permitted to use the name Asch Records while Asch would be forbidden to do so. Prosky and Harris forfeited any rights to Asch Recording Studios, and they agreed to hire Asch, at a weekly salary of $125, in order that he might instruct them in the “method and technique of 'completing records.'” Asch would only be obliged to remain in the employment of Stinson until he had completed the production of three albums: Adan and Eve, an album of French poetry licensed from the French Broadcasting Company, Mary Lou William's Signs of the Zodiac, and a new album of folk songs by Josh White. The agreement also stipulated that Asch would never make or sell any records with the same title and by the same artist as those that he had sold under the Asch-Stinson label.”
[Goldsmith, p.169]

Note: Neither party would honor the letter or the spirit of the contracts and the lawyers and accountants are still keeping busy unto the present day.