You are welcome Darkbluesky.
Mark Vieira may be able to add info to the mix that is worthwhile, don't know.
Ansel Adams, The Negative, had a variety of curves in the back, don't know if what you are looking for is there or in similar texts but a trip to the library may help.
So, with the historical question waiting on more research, enquiring minds want to know; how are you planning to use the info?
The reason I ask is that, if this is a practical exercise, it is very possible given what you already know to backwards engineer from the works Hurrell left behind to get a very, very, very similar result.
This is in theory simple, just define the qualities you want to replicate and look at what's available to see what might work and start practicing/experimenting.
What I'm getting at is, for example, that film curves are maleable. We can make say Delta 100 print more like TXP by adjusting exposure and development.
The manipulation of the curve of any film uses techniques that Hurrell, or his assistants, would have applied but that would have been highly problematic to record or replicate, like how much agitation a specific sheet of film should, or did, get and how accurately the developer temp was regulated on any given day.
It also begs the question of what the water quality was as that would and will affect development if there were or are certain impurities. Impurities aren't necessarily a problem at a local level, as long as they remain constant, but can be very problematic when translating that info out of that locality.
Agitating your films exactly like Hurrell did his and recreating his water quality isn't going to happen. The good thing is that it probably doesn't have to.
I'm of the opinion that you could get very close to Hurrell's look by just getting the big things right and then seasoning to taste.
What I'm saying is that;
If you want the smoothness, texture, and detail of a Hurrell contact print, then using the same film size and contact printing probably matters much more than which film or paper gets used.
If you want the lighting to match it is probably more important to understand the direction and size of the lighting source than it is to get the same brand of hot light. In fact if I were going to try this I'd use the studio strobes I already have rather than buying old theatrical lights.
If you are willing to compromise a bit on texture and manipulate the process Pan F or even XP2 in 67 format might be workable for enlargement.
So what are your plans?