I 9 f « V .* I' l * : i i ROERICH Compiled and Edited By The Publishers CORONA MUNDI "■ IN\ ■ INTERNATIONAL — ART CENTER — 310 RIVERSIDE DRIVE, NEW YORK CORONA MUNDI — INC- INTERNATIONAL — ART CENTER — NEW PUBLICATIONS: ADAMANT by Roerich A Collection of Essays of the Great Master $1.00 WORLD OF ROERICH by Nina Selivanova A Biography of the Artist by the Well- known Russian W'riter $1.50 MICULA BOYANOVICH by George Grebenstchikoff {In Preparation ) A Story of Russian Life by one of the Greatest Contemporary Rus- sian Authors $2.50 Copyright, 1924 All rights reserved NICHOLAS ROERICH From a Portrait by SVIATOSLAV ROERICH NICHOLAS ROERICH “True Art is the expression of the radiant spirit. Through Art thou hast the light.” — Leaves of Morya's Garden. iOERICH must be counted among those few who through the epochs of history stand out as JL m_ supreme prophets of their age. It is as though he had found some higher summit from which to over- look the entire horizon of human activity. Whereso- ever he turns his creative ardor, there can be perceived the searching quality of a spirit that sounds to its full depths the stream of universal knowledge. Such an all-embracing spirit is Roerich whether we study his achievements as architect, as educator, as archaeologist, as poet, as painter or as prophet. From his quests into one field of creation he draws inspiration for other fields, expounding in his own accomplishments the truth that all creation comes from a single source. From his boyhood Roerich is fascinated by the visage of antiquity, exploring the ancient remains of his country and experiencing for himself the thrill of intimacy with the past. Thus, he becomes one of the great archaeologists and adds his discoveries to the sum of human knowledge. And so does he learn — from the impersonal aspect of time — the place of man in the creative plan. So, too, in his architectural researches, in his trips through Russia studying the vast influences which have laid their impress on Russian architecture. He sees the significance of Russia’s earliest creation and in paintings and writings champions the preservation of this art. And he rouses a real love of early creation. As an educator Roerich builds up the Academy of the Society for the Encouragement of Arts in Petrograd un- der his directorate, to a still greater institution embody- ing his high ideals of teaching. Here, too, he is able to spread a w ider appreciation of all arts, and even then shows his faith in American art by organizing the first exhibition of American paintings in Russia. In his writings, too, we see this universal note — his poetry throbs with a symbolism of firm and triumphant rhythm. It is in his painting, however, that his genius leaps to its fullest flame. Here does that experience gathered by his versatile spirit reach its zenith. The beginning of his creative work is at once a conquest. His retrospect view of man reveals itself in the sense of antiquity which veils his early paintings. Through conceiving the world’s twilight hours, he is able to transmit an ageless spirit to his art. One of Roerich’s first great steps is the determination of a defined style of expression. This style has a deeply underlying significance, for it again reveals the character- istic greatness of the man who studies with the under- standing not merely of his own time but of all time. Thus the image which he creates possesses the luster of a spiritual sight. It is not merely terrestrial beauty con- cerned with detail; something has been added, something immortal. No longer is his work subject to the fluctua- tion and the reiterated decay of earthly beauty — this transmutation has lent to his conception an eternal aspect. Thus solving the problem of his creative mode, he is free to venture endlessly in search of his themes. And here his resources are unlimited, for within him, he holds the seasame to unfathomed worlds. No artist perhaps has ever showed a greater universality of theme and sub- ject, nor ventured more fearlessly into wider spiritural provinces. vi And to further glorify this aspect Roerich draws from the full radiance around him ; his works vibrate with supreme harmonies and throb with that resplendence of color which makes man worshipful of nature. Where in history has- a man used such an array of pure color with such overwhelming strength! It is not to be wondered that “Roerich Color” has become a byword. His rocks and mountains with their feeling of power seem like the inevitable forces of destiny. His skies casting their mood of brilliance over each painting, disclose heaven’s proudest banners ; and his distances so without detail, yet so signif- icant, bespeak infinity. He attains another summit with his religious pictures such as “Saint Boris and Saint Gleb,” “Fiery Furnace,” “Treasure of the Angels.” In these he seems to trans- figure the spirit of the ancient Russian church pointings. For, long previous to the general recognition of ecclesias- tic art, he understood its greatness and predicted its wider appreciation. Another aspect — perhaps the most significant of all — is found in his prophetic paintings. Since 1910 some of Roerich’s greatest canvasses seemed enveloped in a mood of prevision and foreboding. It was as though the spirit of Roerich had pierced beneath the seeming calm of those years and had seen the fomenting chaos. “Heavert’s Battle,” “The Last Angel” and “Cry of the Serpent” bespeak a prophecy of the terrible conflict ahead." And it is the same intuition which inspires Roerich’s paintings thenceforward. During the dismal war years, his faith in the ultimate spiritual regeneration comes to light in his paintings of the Saints with their promise of benediction. With the period commencing with his arrival in America, Roerich has thus far reached the consummation of his creative life. His wide resources are apparent and his genius, so simple yet so triumphant, arouses new Vll activities. In Chicago he founds Cor Ardens, an inter- national society of Artists. In New York in 1921 he organizes the Master Institute of United Arts, for the first time bringing the teaching of all arts under one roof. And the following year he organizes Corona Mundi, the International Art Center with its wide edu- cational purpose of spreading greater love of beauty. Nor does his own production lessen in America. In- stead it seems to attain climatic force, and his prophetic vision becomes apocalyptic. Clearly is this discerned in his “Sancta Series” and in his “Messiah” paintings, his latest messages, where he perceives the fulfillment of age-old legends in the new world of America. In these works it is as though there was crystallized the eternal moment when past and present blend and recede before the future. The morning stars pale before the sun, rising effulgent in victory! In “Bridge of Glory” we see Saint Sergius amid the beauties of Maine, and beholding the Northern Lights, he contemplates upon the Bridge of Glory uniting all men. “Legend” and “Miracle” (“Messiah” Series) picture the fulfillment of two ancient legends. The first is founded on the belief that the Messiah shall come in a cloud and the sword shall be as a comet in his hand. And so a youth walks in the wide-spreading Arizona landscape reading from the old scroll, while behind him already rises the white cloud. In “Miracle” we per- ceive the outlines of the Grand Canyon like an ancient temple and in the foreground, seven figures are prostrated before an advancing radiance crossing a bridge in fulfill- ment of the legend that Messiah will come across a bridge. With such prophetic visions does Roerich take man to the gates of heaven ! Whoever looks on Roerich’s art is borne upwards by the promise within, for his universal appeal is evidenced not alone by the fact that his works are spread in the viii museums and collections of some twenty-one countries. With a spirit akin to folk art, his work speaks to the souls of men. Connoisseurs, the simple people and even chil- dren seem to find within the paintings the answer to some deep-felt and unuttered hope. Hence can one discern why Roerich stands as the voice of an epoch. His creation and activity sum up the trend of human progress and penetrate universal secrets. Man to him is important as he takes his place in the plan of eternity. And he discerns, too, the part which Nature plays as the eternal witness to the upward progress: Whether under the ever-varying skies, within the cool forest or under the shade of the mountain, man treads his upward way while within him an eternal voice beckons him onward. Other creators have found their happiness in making a record of their day — of a moment of infinity. Not so Roerich: His art bears to other paintings the same undy- ing aspect as Scripture to men’s writings. He concerns himself not with the temporary but with the immortal. T he gaunt shadows which now creep over the earth dis- torting the real visage of man do not disarm him. He sees beyond and knows with full faith that dawn is ahead and with it, victory and universal peace. As he proclaims: “The sign of Beauty will open all sacred gates. Beneath the sign of beauty we walk joy- fully. With beauty we conquer. Through beauty we pray. In beauty we are united. And now let us affirm these words — not on the snowy heights but amidst the turmoil of the city. And realizing the path of true reality we greet with a happy smile the future.” The Publishers. ( The following sixty-three reproductions have been chosen from more than 1 500 paintings thus far created by the artist .) IX he Square in Putivile " Prince Igor” Roerich Museum, New York POLOVETSKY CAMP " Prince Igor ” Detroit Art Institute , Michigan The Battle Museum of Alexander III, Petrograd, Russia Heat of the Earth Roerich Museum, New York The City of the Serpent Roerich Museum, New York Conquest of Kazan Mural Decoration of Moscow Railroad Station, Russia The Weaver of Spells The Miser Roerich Museum, New York Pskov " Pskovitianka ” Roerich Museum, New York Corridor in the Castle Omaha Art Institute , Nebraska The Secret Signs Roerich Museum, New York Valley of Yarila from “Snegourotchka Roerich Museum, New York Snegourotchka Series Roerich Museum, New York Sadko's Palace Collection Adolph Lewisohn, New York The Shore Near Ledenetz Town Roerich Museum, New York Tristan and Isolde Roerich Museum, New York Tristan and Isolde Roerich Museum, New York / Clouds Collection of J. B. Hubrecht, Secretary of Netherland Legation, Washington , D. C. The Command Roerich Museum, New York The Shore ich Museum, New York Lake of Ladoga, Finland Roerich Museum, Neiv York Lake of Hympola, Finland Roerich Museum, New York Roerich Museum, New York The Unknown Singer Collection of Ethel Massey Holmes and Medill Smith Gates Kansas City, Mo. Repentance Roerich Museum, New York The Holy Mother Mural Decoration in the Chapel at Talashkino, Russia Endless Tracks Collection Mary B. Longyear , Brookline, Mass. “Ocean Series” Roerich Museum, New York Knight of the Morning Roerich Museum, New York Song of the Moon Roerich Museum, New York Language of the Birds Roerich Museum , New York Dream of the Orient Roerich Museum, New York Song of the Morning Roerich Museum, New York ■IP Church of Old Novgorod Roerich Museum, New York The Secret of the Walls Collection of John Spaulding Boston, Mass. Not Gone Yet Roerich Museum, New York Snow Guardians Roerich Museum, New York New Mexico Roerich Museum, New York Santa Fe, New Mexico Roerich Museum, New York Grand Canyon, Arizon Roerich Museum, New York And We Open the Gates “Sancta Series ” Rnrrirh Museum. New York And We Do Not Fear “Sancta Series ” Roerich Museum, New York And We Continue Fishing *‘Sancta Series” Roerich Museum, New York And We Are Trying *‘Sancta Series ” Roerich Museum, New York And We See “Sancta Series” Roerich Museum, New York And We Bring the Light “Sancta Series” Roerich Museum, New York “Himself Came'" Collection of Louis L. Horch New York The Messenger Roerich Museum, New York Saint Sergius Roerich Museum, New York Monhegan, Maine “Ocean Series ” Roerich Museum, New York Monhegan, Maine " Ocean Series ” Roerich Museum, New York Monhegan, Maine “ Ocean Series" Roerich Museum, Nezc York Mon h egan, Maine “ Ocean Series” Roerich Museum, New York Monhegan, Maine " Ocean Series ” Roerich Museum, New York Monhegan, Maine “ Ocean Series” Roerich Museum, New York Monhegan, Maine “Ocean Series’’ Roerich Museum, New York Monhegan, Maine " Ocean Series ” Roerich Museum, New York “Russian Legend ” Roerich Museum, Nezv York The Bridge of Glory Roerich Museum, New York Messiah Series Roerich Museum, New York "Miracle" Messiah Series Roerich Museum, New York Saintly Guests Roerich Museum, New York MUSEUMS AND PRIVATE COLLECTIONS OWNING ROERICH PAINTINGS Austria Vienna: Mietkee Collection. Czecho-Slovakia Prague : Marten Collection. Denmark : Copenhagen : Hagemann, Sheinin, Savitzky and Feigenberg Collections. England London: Victoria and Albert Museum: Worthing Art Gal- lery. Private Collections of Countess Benkendorff ; Braike- vich, Alfred Coates, Cooper, Lady Dean Paul, Bembovsky, Hagberg- Wright, Hubrecht-Northfield and Johnson. Finland Helsingfors : Athenaeum. Private Collections of Gallen- Kallela, Hvatt, Jarvinen, Lydecken and Strindberg. Viborg : Private Collections of Crotte, Gourevich, Groen- ross, Rosenthal, Rudnev, Sheinen and Tumarkin. Raivola : Kersten Collection. Sortavala: Private Collection of Frey, Relander, and Solnt- zev. Tyriseva : Collection of Andreyeff. France Nice: Livshitz Collection. Paris: Louvre, Pavilion Marsan ; Musee National du Lux- embourg. Private Collections of Baron de Baye, Armand Dayot, Maurice Denis, Goloubeff, Jacquin, Levinson, Mello, Pavlovsky, Denis Roche, Roumanov, Sviatopolk-Shetvert- insky ; Princess Tenicheva. Germany Berlin: Tumarkin Collection. Dresden : Rubin Collection. Munich : Private Collection. Holland Amsterdam : Stuertz Collection. Hague : Pustochkin Collection. India Balpur : Rabindranath Tagore Collection. Italy Rome : Galleria Nazionale di Arte Moderna. Private Col- * lection of Kamensky. Japan Tokio : Skidelsky Collection. Latvia Riga : Shibayeff Collection. Monaco Monte Carlo : Collection of Alary Garden. Rumania Kishinev : Museum of Bessarabia. Russia Kazan : Mantel Collection. Kiev : Parhomovska Church. Private Collections of Biel- ashevsky, Filipov, Hansen, Tereschenko and Vlassov. Aloscow : Tretiakov Gallery, Bahrushin Museum, Palace of Grand Duchess Elizabeth, Terminal of the Moscow-Kazan Railway. Private Collections of Burdhjhalov, Chaliapin, Fetissov, Goloushev, Kirshmann, Kassianov, Karishev, Katchalov, Knebel, Koussevitsky, Jakunchikova, Korsinkin, Langovoy, Lokhova, Lopatina, Leonidov, Mardjhanov, Mark, Matveiev, von Mekk, Nemirovitch-Danchenko, Petrov, Pokrovsky, Perzov, Sanine, Serov, Shehtel, Stan- islavsky, Stcherbakov, Prince Stcherbakov, Troyanovsky, Tretiakov, Vissotzky and Zimin. Nijni-Novogorod : Municipal Art Museum. Odessa : Collections of Ashkinasi and Braikevich. Perm : Coskresensky Convent. Peterhof : Palace of the Grand Duke of Oldenbourg. Petrograd: Museum of Alexander III. Museum of the Society for the Encouragement of Fine Arts, Museum of the Academy of Fine Arts, Aluseum of the Russian Arch- aeological Society, Museum of the Russian Archaeological Institute, Museum of the Kuindji Society, Palace of the Grand Duchess of Oldenbourg, Palace of the Grand Duchess Olga. Private Collections : Aleshin, Allegri, Prince Argutinsky- Dolgoruky, Bakulina, Bajanov, Bejetsky, Beklemishev, Beliy, Belozvietov, Count Benkendorff, Benois, Bertensohn, Bielkovsky, Block, Botkin, Botkina, Brodsky, Butkovskaya, . Burtzev, Comaiko, Crotte, Danilov, Davidov, Dmitriev, Dobichina, Drampov, Dvukraev, Eremeiev, Ermakov, Ev- reinov, Fabrizius, Fokin, Fenoux, Frolov, Fuks, Count Golenistchev-Kutuzov, Maxim Gorky, Goldberg, Golubeva, Gorielov, Golubev, Gourian, Grigoriev, Groushevsky, Gui- doni, Hilse van der Paals, Houdekov, Count Ignatiev, Ivan- ov, Prince Javahov, Jeverjheev, Karakash, Karatiguin, Kamensky, Kaiser, Kistakovsky, Kisstosser-Kitrossky, Kol- osov, Komissarjhevsky, Korovin, Kondakov, Kotovine, Kitt- ner, Kratchkovsky, Krivenko, Krivosheim, Kurbatov, Ldov, Duke of Leuchtenberg, Levin, Lipovsky, Eivshitz, Eopatine, Lubovsky, Makovsky, Makarenko, Mark, Mitussov, Mol- vot, Napravnik, Neusheller, Nechaev-Maltzev, Nikolsky, Nottgaft, Count Olsoufiev, Baroness Osten-Sacken, Ovsian- nikov, Pilenko, Pisemsky, Pletnev, Pokrovsky, Prince Pou- tiatin, Poliakov, Protopopov, Remisov, Reutern, Rimsky- Korsakov, Rijhov, Rostislavov, Roslavlev, Roerich, Rumanov, House of the Insurance Co. (Russia) ; Sahar, Sergovsky, Shubin-Pozdieev, Sleptzov, Schneider, Siromiat- nikov, Soikin, Soloviev, Strabrovsky, Strutinsky, Stein- berg, Stchussiev, Stchiavinsky, Stepanov, Princess Sviato- polk-Chetvertinskaya, Sviatlov, Sviatlovsky, Tchernishev, Princess Trubetskaya, Tickstone, Tokarev, Topper, Ush- kov, Vlassiev, Zarubin, Zabelsky, Zbrueva, Yaremitch. Pochayev: Cathedral. Pskov : Chapel on Bridge. Simbirsk : Roerich Collection. Schlusselburg: Cathedral of St. Peter and St. Paul. Smolensk: Tenishev Municipal Art Museum. Talashkino : Church of the Holy Spirit. Tsarskoye-Selo : Grand Imperial Palace. Ufa: Municipal Art Museum. Viatka: Municipal Art Museum. Voronezh : Palace of the Grand Duchess Olga. Sweden Stockholm : National Museum. Private Collections : Arne, Bjork, Key, Mansson, Nobel, Palmstierna, Rubenstein, Schanzer, Sleptzov, Taube, Thiel, Wohlin. Switzerland Geneva : Horvat Collection. United States of America Baltimore: Mr. and Mrs. John Garret. Berkeley, Calif. : California University, A. D. Kaun. Boston : Private Collections : Mrs. Mary Munro Longyear, Mrs. Mary Cabot Wheelwright, John Spaulding, Nathan Dole, Charles Pepper. % Buffalo, N. Y. : Private Collection : Mrs. Cornelia Sage Quinton. Burlingham, Cal.: Private Collection: Jerome Landsfield. Cambridge, Mass. : Widener Library, Harvard University. Private Collection : Professor Charles R. Lanman. Chicago, 111. : Chicago Art Institute. Private Collections: Mrs. John Alden Carpenter, Mrs. Co- burn, Mr. Coini, Dr. Cornelia Debey, Samuel Harper, Rob- ert Harshe, V. Muratore, A. M. Volkoff. Cleveland, Ohio : Mrs. Cole Collection. Denver, Colo. : George Eggers Collection. Detroit, Mich. : Detroit Art Institute, Clyde Burrows Col- lection. Evansville, Ind. : Evansville Art Institute. Honolulu : Miss Eleanor Castle Collection. Kansas City, Mo. : Kansas Art Institute, Mrs. Ethel Massey Holmes. Milwaukee, Wis. : Dudley C. Watson Collection. Minneapolis, Minn. : Mrs. Maurice Flagg Collection. New York, N. Y. : A. Avinoff, Mrs. Arthur Bookman, Charles Crane, Muriel Draper, Ossip Dymov, Louis L. Horch, Frances R. Grant, S. Golding, Mr. G. Isvolsky, Otto H. Kahn, Mrs. Nina Koshetz, Adolph Lewisohn, Maurice Lichtmann, Mrs. Thompson, A. Sack. Oakland, Calif. : Oakland Art Association, Dr. William Porter Collection. Omaha, Nebr. : Omaha Art Association. Philadelphia, Pa. : Dr. Christian Brinton Collection. San Francisco, Calif.: Senator J. Phelan, Mrs. Salz, Mrs. Rosenberg, J. Nielsen Laurvik. Santa Fe, N. M. : Dr. Edgar Hewitt Collection. Stanford, Calif. : Mrs. Hahn, Mrs. Roy Partridge. Washington, D. C. : E. B. Hubrecht. MASTER INSTITUTE — OF UNITED ARTS — Founded in New York, November 17, 1921 MUSIC - PAINTING - SCULPTURE ARCHITECTURE - OPERA CLASS BALLET - DRAMA - LECTURE “ART WILL UNIFY ALL HUMANITY, ART IS ONE— ^INDIVISIBLE. ART HAS ITS MANY BRANCHES, YET ALL ARE ONE. ART IS THE MANIFESTATION OF THE COMING SYNTHESIS. ART IS FOR ALL. EVERYONE WILL ENJOY TRUE ART. THE GATES OF THE ‘SACRED SOURCE’ MUST BE WIDE OPEN FOR EVERYBODY, AND THE LIGHT OF ART WILL INFLUENCE NUMEROUS HEARTS WITH A NEW LOVE. AT FIRST THIS FEELING WILL BE UNCON- SCIOUS, BUT AFTER ALL IT WILL PURIFY HUMAN CONSCIOUSNESS, AND HOW MANY YOUNG HEARTS ARE SEARCHING FOR SOMETHING REAL AND BEAUTIFUL! SO, GIVE IT TO THEM. BRING ART TO THE PEOPLE— WHERE IT BELONGS. WE SHOULD HAVE NOT ONLY MUSEUMS, THEATRES, UNIVERSITIES, PUBLIC LIBRARIES, RAILWAY STATIONS AND HOSPITALS, BUT EVEN PRISONS DECORATED AND BEAUTIFIED. THEN WE SHALL HAVE NO MORE PRISONS .” — “PATHS OF BLESS- INGS.” 310 RIVERSIDE DRIVE NEW YORK THE AIMS It is with special cognizance of the needs of the Ameri- can world of arts, that the Master Institute of United Arts was organized on November 17, 1921. Despite the present plentitude of schools it was felt that there was still needed one which would bring a new message to the legion of those seeking for beauty and for a medium of creation. Primarily, the aim of the Master Institute of United Arts is to instill into its pupils an unswerving devotion to the highest ideals of art. It aims also to bring to youth a new inspiration for the unity of all arts. In the present turmoil men have learned that in art is to be found the one solace, the one bridge of understanding between all humanity. But if the arts would endure and gain strength ; if they would accomplish their mission in the need of today’s chaos, they must eschew partisanship and unite their forces. The Master Institute of United Arts is aiming to help the achievement of this ideal by imparting to the student not only a profound comprehension of his own medium of expression but also a respect and understanding of the crafts of his fellow artists. With such a broader aspect, we may strive towards that time when creators of all branches will join forces and battle side by side for the coming apotheosis of art. CORONA MUNDI 1 I XL- ' INTERNATIONAL — ART CENTER — H umanity is facing the coming events OF COSMIC GREATNESS. HUMANITY AL- READY REALIZES, THAT ALL OCCURRENCES ARE NOT ACCIDENTAL. THE TIME FOR THE CON- STRUCTION OF FUTURE CULTURE IS AT HAND. BEFORE OUR EYES THE REVALUATION OF VALUES IS BEING WITNESSED. AMIDST RUINS OF VALUELESS BANKNOTES, MANKIND HAS FOUND THE REAL VALUE OF THE WORLD’S SIGNIFI- CANCE. THE VALUES OF GREAT ART ARE VIC- TORIOUSLY TRAVERSING ALL STORMS OF EARTHLY COMMOTIONS. EVEN THE ‘EARTHLY’ PEOPLE ALREADY UNDERSTAND THE VITAL IM- PORTANCE OF ACTIVE BEAUTY. AND WHEN WE PROCLAIM: LOVE, BEAUTY AND ACTION, WE KNOW VERILY, THAT WE PRONOUNCE THE FORMULA OF THE INTERNATIONAL LANGUAGE. AND THIS FORMULA, WHICH NOW BELONGS TO THE MUSEUM AND STAGE MUST ENTER EVERY DAY LIFE. THE SIGN OF BEAUTY WILL OPEN ALL SACRED GATES. BENEATH THE SIGN OF BEAUTY WE WALK JOYFULLY. WITH BEAUTY WE CON- QUER. THROUGH BEAUTY WE PRAY. IN BEAUTY WE ARE UNITED. AND NOW WE AFFIRM THESE WORDS— NOT ON THE SNOWY HEIGHTS, BUT AMIDST THE TURMOIL OF THE CITY. AND REAL- IZING THE PATH OF TRUE REALITY, WE GREET WITH A HAPPY SMILE THE FUTURE.” " BEAUTY AND WISDOM” JULY 11 th, 1922 THE AIMS In the carrying out of its aims, as an International Art Center, CORONA MUNDI will pursue the fol- lowing activities: To hold exhibitions, and to arrange publications, productions, lectures and concerts. To arrange touring and loan exhibitions, planning them in all kinds of galleries, factories and schools, even in hospitals, prisons, and in villages far from centers of art. To buy and sell art treasures and act as agents for all types of art, on the most reasonable basis. To assist Museums in the completion of their col- lections, through donations and subscriptions. To organize artistic and archaeological research expeditions. To establish agencies and branches in all foreign countries. To catalogue and systematize collections; expertize and restore. 310 RIVERSIDE DRIVE NEW YORK ROERICH MUSEUM — FOUNDED — 17 NOVEMBER NEW YORK Louis L. Horch Maurice Lichtmann President Vice-President Frances R. Grant Executive Director Open Free to Public on Sundays and Holidays from io A.M. to 5 P.M. 310 RIVERSIDE DRIVE NEW YORK FEDERAL PRINTING COMPAN NEW YORK CITY GETTY CENTER LIBRARY 3 3125 00954 3154