1(>

CHECK LISTY~,J'+~Ji' lJ 217/.11 IW"II dAll works are lent by the artists unless otherwise credited. v 19. laocoon. 1943, engr., s.q.e. s 12 f2 x /8 _. I or

Names in parentheses ere those of individuals and galleries Gallery) 3i. -e,through whose courtesy the prints have been assembled. In o¥.y./~t~Le Yiol de Lucre~e.1934, enqr., s.g.e., 11V2 x 14"~ ,J~.-

dimensions height precedes width. .tIof,/f#,"7M· . 1937 ,'" 4 ". X 73/," ., ~-. ...T. asques. • engr., ... , II '", • ~

The following abbreviolionshove been used: Y1t. II 43111 11)"• 11-1.) "'''22. Mirror. 1942, engr., s.g.e., 7'(1 x. /4. •

drypt. drypomtengr. engraving ~<I.NJ,;g 23. Cen'iuresse. 1944, color engr., 6 x 4". [Buchholz Gal-

etch. etching lery) ~Ji. , .s.g.e. soft ground etching /If/, JJi~ 24. Myth of Creation. 1941, engr. o nd s.g.e. on plaster,

cceved, 10 x 8".¥jOP,-

ADLER,Jankel HUGO, Ion

.y~./~J.,9 '1. Interior. 1938, engr.,7% x 9%". (Hoyter) 1't.F~S:.H./'~JJ 25. Jackal of the Moon. 1943, engr., 6 Ys x 14 %".2.0,-

BECKER,Fred U,/~~8 26. Night Gods. 1943, engr., 9 x 6:'~/O,#./~/~ 2. Dancer, 11942, etch., 71,4 x 5".. 11'1.01927. Rage of the Prophet. 1944, engr. relief print on plaster,

BUCKLAND-WRIGHT~ John carved, 15 x 10".• / o D \ -

1J<j..I'3 ~13. Combat. 1937, engr., 6Yu x 7W~.(Hay.ter)'·....t,O. KOLOS.VARI; Maximilian

CALDER,Alexander ~'t-.I2-qq . 1/" (Hoy.te-) i"J. f. 3,., 28. Bull. 1939, enqr., 7,x 9/4. •

4'1.J')b2 4. The Big "r." 1944,. s.g.e., 6% x 8%". (Wittenborn & LASANSKY, MauricioCo.) ..to. ~<4.I:3~b 1/

29. Horse. 1944, engr., 13¥s x 5Y~ • (Wittenborn & Co.) ;J..O,CHAGALL, Marc .iM,J.,.:'O ,5. Chevaliere. 1944, s.g.e., 9 x 6:'. ~r.s. "1/.1":J~1 .30. La Logrima. 1944, color etch., 9'x 11 J14" •.:90 •.

**.l~~\ 6. Femme Violincelle. 1944, s.q.e., 8% x. 6 V,". ~y::S. "tl~at::ma.1944, engr., 19% x.13%". # l) ••

DREWES, Werner UPCHIL~ Jacques" s« ,3 ...'1'1.I~"'). 7. On Different Planes. 1944, enqr., 11% x 6". (Witten- '" 32. "Iheseus. 1943, etch., en gr., aquatint, 13~ x l1¥s".

born & Co.) ?,.D, _/ - (Buchholz Gallery~"'" " __

FINE,Perle ..; _ Jl4.I'fJ'i 33. Le Chemin de rExi!. 1944, engr. ond aquatint, 137/s xJU,/~ffCI 8. Weathervane. 1944, en gr., 4¥8.x 5". l'~~- 9%''-. ~-o.-.. <f./~qv 9. Calm after Storm. 1944, elch., 7Y8 x 5%". (Wittenborn

& (0.)·1~.MAfJ..SgN, Andre"'~i'iletf: Genie du Ble. 1942, s.g.e., 13Ya'x

Gorreryl"~D. -

L..,ttt~e~ie de l'Espece. 1942, dry pt. and

10%". (B~chholz Galiery)-jt.-MAYO;t'f" ~lD I36. Petite Composition. 1936 .. etch. ond engr., 7Y2 x 5%/1.

{Hayterl N,F. ~.

10". (Buchholz

FULLER,Sue

10. The Sailor's Dream .. 1944, relief etch., 9 x 6"."/D.,- ...

11. Cock. 1944, color engr., 8 x 5%". (Wittenborn & Co.).;lO.

12. Mosaic. 1944, s.g.e., 9·% x 7~;' ..,,s:-. .' \

13. The Emperor's JeweJs. 1944, ,.g.e:, relief print on plas-fer, carved, 8 x 6"~J,~.,I

/f'f.J3~.J 14. The Connoisseur. 1944, s.g.e. in color on plaster, carved, MEAD, Roderick11 x 8%"."~OO • -f"" -101.1.17" 37. River. 1940, engr.,.73A. x 73,4". ~().

HAVTER 5 W MIRO, Joan., '7. '" • ,,,.I ,0 ~./"S~~..,.1/-.1 .. -, 15. Flight. 1944,engr.,s.g.e.,15x9J/4 • Wiftenborn& Co./""o. 38. Print. c.1938, drypt., engr., 10Y2 x 9¥is". (Buchholz

1r'-J/.}4J.o;J.,· 16. Laocoon. 1943, eng~. on plaster, carved, coJored, Galle.ry)" JIG.. ~ .23Y2 x 14",;11.2.,6, IJI:J;rt;r. 1938, drypt., 9 x lIW'. (Buchh;lz Golte.ry"~4;''''f'';

,,';·/~~7 '. .40. Plate from Fraternite series. 1938, etch., 5% x 3%".

IHo.l):terl N,F.£. ."t.l iI~-15NIf.IIfJ# 18. Tarantelle. 1943, engr., s.g.e., 213,4 x 13". (Buchholz \ 1. Plate from Solidarite series. 1937, engr .• s.g.e .., 4 xGalleryl"~8."" .......L.. Co....- 3Y8". (Hayter) N,F'·S.

r- 1\,...~ ...."ne~. I"~U"'nk •• p\ca.1tRT' ceui" oml"l.JI-.'I,J'I~II ~C),!"""",-'e.ll\~""')10~~ " ..-14 ~f'). ('\.r,~., , 1'>l<>:k.~·,

r~Q...-\-e~"C~t'f~) . 'l>l.,,+....:~C>~-e.o..~........~-l' (.~ho..+. l~t'f'2..-j ox8''' 100.II \ \J . N'e..t IQ':>If. \\'1/ ... ')I" ~.?'lr", ~>l.1""\'7 E"'1e.. 6!;G" .,);''l.''l~ :::,-)(.l.. SO.

'ill.l't-S'L rt<>-,,\1"~"'·· ~ a. ....') ...... Cl. • " ~~.I~"~ Tk.c- A-\\. e"""'j .. _I ..lil.I'Ibe Te."' \"". \o.,\Jr~. 10:;''1..5"I?. 100. .'l.I~b'l ~c9 Q'or. J~t-"3. 6;<:>, ~O" "

"'1l.1~"'\ 'Ru.,., <>. }~~'1. IO·I"'"l8~J~. N.~·S. H,lm.. ":l'Of"T'l. .. !,,~,""'+:'A~::::~"1"..0f'\4A~~~·~~~~I~lf"U<l-.,..,.b\:' '7a."'c. e, I CS~~- \,"Ii 1. 1 I..,.. 100. ......IS ... .., ""»ook. W • ''\.' .....lo:~,....~t~?,\ .. tt'. ~~:"'Qo_~<\~;..~~~':i;04~~~ll)l>.\:~l:'O.>:"o. *'t.l"';" \..L"tI <A\ •• ' &11,'-" tol"o..')o ,,'.... .,.J

....... I .. l.!. ~""'-e.-.... Ie,;~ ...... \~~ .... I~-O.

>/'1./').'1>1

q.'i-,12.9b

H./1.QgJPf./.3fl

engr., 14Y2 x

MoM

AExh_0259_MasterChecklist

NEGRI,Nina 4 •42. La Fougere. 1937, relief eng,r:J4:4 x'7 3.1.(. (Hayter) /..:. ,

RYAN AnneNORTON, Hubert .. .J ... q ':l, II

/: ... b d' 1942 3J/- x 5Ya".!O" ./f""'5J. Centaur. 1943, engr., 7Vl diameter (circle). J 0,'43. Civil DISO e renee. ,engr., s.g.e., /8 . .

OLMSTED, Barbara 5ZENES, Arpod','U 7 971 x 711.,".1I'1.1;i~J. Le Carrousel. 1932, etch., 5¥a x 7%". (Hoyterr/~'/'4,' ....,.0 44. Le Negre et les Arbres. 193 , engr., s.g.e., 18 /4

(Hcyter] I ~-:<- TREVELYAN, Julion

b J>l.1f,J~ b~55. "Mon is perhaps ... "1932, s.s-e., 7 x 9Ya','. (Haylerj·PETERD1,Go or _JlI/./~'( 45. Desespoir.1942, etch.i s.q.e., IOY2 x 7%':. /.1~ lJ./f.I~~l.j 56. Metropolis. 1937, etch., qouc che, 7% x I~".(Willa(

PHILLIPS,Helen- 1 _ Gallery) '11.-, .'I4.N~~46. Figure in Space. 1943, engr.( 6Y's x 51/<. (Hayter)/';'. UBAC, Raoul

PLATT, D. P. _ '1./-1.";;0;; 57. Le Drame Nocturne. 1938, engr., 9%

47. Composition. 1943, engr.,etc~., 7% x 9%". I~· VIEILLARD, Roger

48. Sea Bird. 1944, engr., s.g.e., llY's x 8 Va,". ':;(0. 1-I'f.J ao' 58. Le Temple de [0 Llberte. 1937! enqr, 9',4 x 7".IHoyt

RACZ, Andre .y..tt.l~t>'il 59. Phaeton m 1938, engr., 7% x 6',4~. {Hcyter] "'.F.SMother and Child. 1944, color engr., 11 ~ x 17314".""

1944, engr., etch. on plaster, 'fYf.O•

\

lfti./JI ( ....49."'j ,f 11 50. Dejonira and Nessus.• carved, 10Y2 ~ 14114".

RATTNER, Abraham51. "Among those who stood ... " 1944, color etch.,

9%". (Paul Rosenbl'lrg) "";2.£"0. $0\ 6..6% x

ROESCIh Kurt't~i..;;ls'aro.me. 1944, etch., ]n'41x 11%". (Buchho[ztzI.

PHOTOMOUNTPAMPHLET BINDER

PAT. NO.877188

Manufactured"" 1

GA¥LORD BROS. Inc. ~Syreeus., N. Y. 1

Slockton, CaliF. I

YARR~W, Catherine6.5....Head. 1936, etch., aquatint, 101,4 x a". 2:..-, -NOTE, In addition to the prints above, the Museum Exhibiti

includes a number of the origino[ copper plates, on uninke

plaster cost from Hayter's plate Runner, and two books wit

covers and illustrations printed from original plates by Hugo

PRESSCOMMENT ON ART IN PROGRESS EXHIBITIONNew York World Telegram, Emily Genauer-" . the most

thrillingly beautiful display in the museum's history . astunning presentation such as no other institution in the

country could or would hove assembled."

The Sun, New York, Henry McBride-". . the Museum ofModern Art celebrotes its fifteenth birthday with unusual

splendor It sounds the modern note triumphantly and

proves that the best men of today have caught the tempo ofthe times we live in just as brilliantly as the ancients didtheirs ...

The special merit of the Modern Museum's show is that it

connects its exhibits with present living conditions. This obvi-

ously, is the chief business of any modern museum, and it isheartening to flnd it 50 easily accomplished as it now ison 53rd street ....

I cannot imagine any living artist passing through this exhi-

bition and remaining unaffected by it. For that reason theevent takes on extreme importance apparently New

Yorkers have an all-summer job on their hands in gettingreacquainted with their museum ...

New York Herold Tribune, Carlyle Burrows-HAny of five or

six sections of 'Art in Progress,' at the Museum of Modern

Art, could he isolated and by itself be considered an eventof consequence." \

New York Times, Edward Alden Jewell-uThe Museum a

Modern Art has spent ih flrst fifteen years, upon the whol.most proflta bly. n has hod its vicissitudes. It has made it

mistakes. It has been severely-sometimes, J think, unjustlycriticised.

Taking on unbiosed view of accomplishment to dole, an

recognizing what the museum stands for as 0 rounded, pro

gressive cu[tural force in the community, I should think thtown would be, on this occasion, inclined to stand up ancheer."

The Art Digest, Maude Riley-". . somehow, subtly, withi

the full·house exposition of art and its collaterols, Ih.e Mode

seems to have recaptured the spirit of the original ideo u

which it was founded. There is dignity and rightness in

quiet arrangements that progress easily from room to roo

and from floor to floor of this Anniversary Show."

New York Times, Editorial, Moy 24, 1944-". . a genu'l

source of public enjoyment and proflt. Expansion of

museum's program has been phenomenal. ... The Museu

of Modern Art has won the confidence of the community,

eKpressed in a degree of public interest thot increases dby day."

MoM

AExh_0259_MasterChecklist