National President

LEROY ALLEN

Dean College of Liberal Arts

Southwestern College

1414 East Fourth Avenue

Winfield, Kansas

National Social Science Honor Society

of

Pi Gamma Mu

National Secretary-Treasurer

DARELL BOYD HARMON

School of Education

New York University

18 East Eighth Street

New York, New York

Attn:
"Cooperation in the study
of human problems."

Motto:
"We shall know the truth and the
truth shall make you free."

OFFICE OF THE NATIONAL PRESIDENT
WINFIELD, KANSAS

May 27, 1930

Mr. Arnold Ronnebeck
1300 Logan St.
Denver, Colo.

Dear Mr. Ronnebeck:

I am spending my month's vacation this summer on a tour of the Western States for the purpose of meeting and getting acquainted with the members of the Society. I have founded and of presenting to them some great plans for the future functioning of that Society.

In order to accomplish these purposes in the short time at my disposal, I am asking the members of Pi Gamma Mu to meet me in twelve state conventions of one day each, with a general assembly at 2:00 P.M. and a dinner at 8:00. A letter to all members in the Western States will soon go forth from my office.

I plan to hold one of these conventions in Denver on July 23 at the Hotel Troutdale-in-the-Pines and hope that you will be in the city at that time.

I shall be glad for any suggestions from you as to how to make this particular convention in Denver successful. Who of our members there would you suggest as suitable members of a committee of local arrangements? Can you suggest the names of local or nearby members who would be good speakers at our banquet?

Possibly a meeting can be called of Pi Gamma Mu members in your city to discuss ways and means of making the convention there a great success. I can furnish a directory of members in case it is thought desirable to have invitations go out over the state from the group in the convention city.

Hoping to hear from you soon, I remain

LA:IF

National President

National President

LEROY ALLEN

Dean College of Liberal Arts

Southwestern College

1414 East Fourth Avenue

Winfield, Kansas

Pi Gamma Mu

National Secretary-Treasurer

DARELL BOYD HARMON

School of Education

New York University

18 East Eighth Street

New York, New York

Aim:

Motto:

Dear Fellow Member:

Dean Leroy Allen, the Founder and National President of Pi Gamma Mu, will spend his month's vacation in a tour of the Western States, Colorado, Wyoming, Utah, Montana, Idaho, Washington, Oregon, California, Nevada, Arizona and New Mexico, holding provincial conventions of Pi Gamma Mu in each state.

The purpose of this tour is to give the members of our great Society the opportunity to meet and talk with the Founder, and to give him the opportunity of getting acquainted with them. On the basis of such acquaintanceship he will later appoint provincial governors and lieutenant governors for each state and chancellors and vice chancellors for each region of states.

The purpose of the conventions is to better acquaint members of Pi Gamma Mu with the purposes, ideals and program of Pi Gamma Mu, to give the National President an opportunity to counsel with members in the West, whom he seldom gets to see, in regard to the policies of the Society, to get their reaction to such matters and their advice and suggestions, and finally to afford an opportunity to the scattered members of Pi Gamma Mu to get better acquainted with each other and possibly form permanent alumni chapters in various centers.

Each convention will involve two sessions. One at 2:00 p. m., at which the National President will deliver an address on "The Purpose and Program of Pi Gamma Mu," this to be followed by a discussion of "The Problems of Pi Gamma Mu," led by the President and participated in by all present. This will be exceedingly interesting and vitally important to the future of Pi Gamma Mu in the Western States and in the Nation. The second session will be at 8:00 p. m. and will be in the nature of an informal dinner, at which the National President will serve as toastmaster, and will give an address on "The Ideals and Future of Pi Gamma Mu." The keynote of this session will be good fellowship, but good fellowship inspired by the lofty ideals and purposes of Pi Gamma Mu. Others will speak also and suggestions are requested by the National President as to local or nearby members who should be asked to participate in the program. The banquet will be followed by a social hour, giving all an opportunity of getting acquainted.

Possibly the greatest contribution you could make to Pi Gamma Mu at this time would be to attend one of these conventions and contribute thereby to the enjoyment and enthusiasm of the occasion. Pi Gamma Mu will in the near future be the most important and worthwhile honor society in existence, not only because of the character of its membership, but because of its active program and its forward-looking spirit. You will want to understand and appreciate this movement and have a part in it. Make up your mind now to attend one of these conventions.

National President.

P. S. See program and schedule of conventions on the other side, Members may invite their wives and friends. Pi Gamma Mu has no secrets! It will be impossible for you to attend the dinner unless you mail the card and check for the number of plates you desire to me by June 15th or send your check to the hotel three days before the date of the convention you plan to attend. Attend the convention most convenient for you.

Program of Each Convention

2:00 p. m., Address, "The Purposes and Program of Pi Gamma Mu," by Dean Leroy Allen, Founder and National President of the Society.
Discussion on "The Problems of Pi Gamma Mu," led by President Allen.
Such subjects as chapter programs, ritual, chapter procedure, alumni chapters, fees and dues, eligibility and election of members, members-at-large, provincial and regional organization, time, place and programs of provincial, regional and national conventions, publication of "Social Science," national activities and objectives, will be discussed.

8:00 p. m., Banquet (see schedule below). Wives and friends especially invited.
Toastmaster Dean Leroy Allen. Address, "The Ideals and Future of Pi Gamma Mu," by Leroy Allen. Toasts and Talks by several others.
Social Hour.

Schedule of Conventions

<table><tr><td>Albuquerque, New Mexico, June 23, Franciscan Hotel</td><td>$2.50 per plate</td></tr><tr><td>Phoenix, Arizona, June 25, Hotel Adams</td><td>$2.50 per plate</td></tr><tr><td>Los Angeles, California, June 30, Los Angeles Biltmore Hotel</td><td>$3.50 per plate</td></tr><tr><td>San Francisco, California, July 5, Sir Francis Drake Hotel</td><td>$2.50 per plate</td></tr><tr><td>Reno, Nevada, July 7, Parkway Hotel</td><td>$2.50 per plate</td></tr><tr><td>Salem, Oregon, July 9, Hotel Marion</td><td>$1.50 per plate</td></tr><tr><td>Tacoma, Washington, July 11, Tacoma Hotel</td><td>$2.50 per plate</td></tr><tr><td>Missoula, Montana, July 14, Florence Hotel</td><td>$2.50 per plate</td></tr><tr><td>Boise City, Idaho, July 16, Owyhee Hotel</td><td>$2.50 per plate</td></tr><tr><td>Salt Lake City, Utah, July 18, Hotel Utah</td><td>$2.50 per plate</td></tr><tr><td>Laramie, Wyoming, July 21, Hotel Connor</td><td>$2.50 per plate</td></tr><tr><td>Denver, Colorado, July 23, Hotel: Troutdale-in-the-Pines</td><td>$2.50 per plate</td></tr></table>

435 Clermont Street,
Denver, Colorado

March 21, 1939

Mr. Otis B. Wight,
President, Portland Art Association,
West Park and Madison Streets,
Portland, Oregon.

Dear Mr. Wight,

A week or so ago, I wrote to Miss Louise Upton, of the
Los Angeles Museum, asking her if she knew of any vacancies open
either to an instructor in sculpture or a museum director at the
Coast. (Miss Upton knows that I am using her name in writing to
you.)

She informed me that Mr. Frederick A. Sweet is leaving
the Portland Art Association to go to Chicago.

As you may know, I was for almost five years Art Adviser,
with the authorities of Director, of the Denver Art Museum. For
four and one-half years I was Professor of Sculpture, Art
Department, University of Denver. I was able to fill both
positions simultaneously, and I would like to fill a similar
position in Portland.

At the invitation of the Western Association of Art
Museum Directors, I have lectured on art in Omaha, Lincoln,
Denver, San Diego, Los Angeles and other cities, after working
and lecturing for two years at Washington, D. C., and New York
City.

Biographical notes concerning my career and my work may
be found in "Who's Who in America" (1938), "American Art Annual"
(1938), "Who's Who in Museum Work" (1931), "Dictionary of
Contemporary Artists" (1938). My work is represented in many
museums and private collections in this country as well as in
Europe.

I should be very grateful to you if you would kindly let
me know if Mr. Sweet's position has already been filled. If not,
could you and your Board of Directors make it possible for me to
give one or several lectures on art at the Portland Art Associ-
ation?

This would be a way of becoming personally acquainted
before (or after) making a formal application for the Director-
ship of the Portland Art Association.

Very sincerely yours,

Arnold Ronnebeck

AR/RB

WE CHALLENGE the Life Magazine War Art exhibition held at the Metropolitan Museum of Art. There are in essence only two important reasons why artists should be sent to the war fronts. First, that the paintings would bear records in pictorial history, history that the camera could not capture. Second, that the paintings would express an artist's psychological or philosophical reaction or comment on war. Both of these aspects were sadly lacking at the Metropolitan.

It is important at this time that this exhibition should not be left unchallenged. It is the time for a group of advanced and highly creative artists to come forward and challenge Life Magazine to an exhibition of war art which will truly indicate the scope and importance of our American culture. This war art, by artists not given the opportunity of visiting the war fronts, will prove that work done by these artists in their studios will bring the pathos, the martyrdom, the horror, the overwhelming power of the action on the different war fronts closer to us here than anything that was accomplished in the Life Magazine exhibition.

The WE CHALLENGE exhibition is not an anti-war show but an exhibition illustrating the menace and horror which our heroic soldiers are facing in the fight, illustrating the true stature of their martyrdom in this struggle for universal freedom. There is great honor in representing the United States at this time for history and that is why this challenge is made.

Puma

## PAINTINGS

1. Fighters For Freedom..................Max Weber

2. Fairy Tale ..................................George Grosz

3. They Will Not Conquer..................Fernando Puma

4. War Scarred ..................................Victor Thall

5. Barrage ....................................John Groth

6. Pearl Harbor ..............................William Gropper

7. War ............................................Max Weber

8. I Was Always Present ....................George Grosz

9. The Sea Covers All ......................Fernando Puma

10. Sunrise ....................................Victor Thall

11. Boots ......................................John Groth

12. Scorched Earth ..........................William Gropper

## SCULPTURE

13. Soldier ....................................Seymour Lipton

14. Warsaw .................................... " "

15. Girl With An Empty Cup.................. " "

(over)

SAMUEL PUTNAM
3225 Powelton Avenue
Philadelphia 4, Pennsylvania

Goat Hill Road,
RD #2, Lambertville, N.J.

July 13, 1947.

Dear Mr. Ronnebeck:

Your charming letter would have been answered
long ago, and immediately, if I had not been rambling around the
country. As it is, it has just caught up with me. I hope you'll for-
give me. It was a joy to hear from one like you, of the older genera-
tion of "expatriates," and especially from one so distinguished.
(I know you very well by reputation and I read and enjoyed both your
Apollinaire and your Stein piece in *Books Abroad*, which I too regularly
read and which I am beginning to write once more-- you may recall that
I was rather all over the shop in that publication in the mid-thirties
--I am to have a Brazilian article in the coming fall number.)

Yes, your letter did my heart good; for I have been amazed to find
that so much active resentment against the "exiles" of the 1920's still
lingers on. I am afraid my country is more provincial than I had thought
it. I had imagined it had grown up. To me personally the reviewers
were very kind on the whole, but they simply did not care for the sub-
ject. Those who stayed, it seems, can never forgive those who went but
take it as a reflection on themselves. But perhaps I am unduly pessimis-
tic after all, for the book has been selling about 500 copies a week
since publication, which isn't too bad. Anyway, your letter was vastly
encouraging.

You have certainly had a fascinating life-- has it ever occurred

2

to you to put it into a book? I can't help wondering how you find
Denver. Perhaps we shall meet some day and you can tell me all about
it, although I am somewhat ashamed to confess that I have not been
west of the Mississippi! Since my return from Europe at the end of
1933 I have been devoting most of my attention to Latin America in
general and to Brazil in particular. I was down there last year and
gave a course at the University of Brazil in Rio. Have you by any
chance ever been there? It is a city that will inevitably make you
think of Paris, though it goes without saying that no second Paris
exists.

I hope that I am going to have the pleasure of hearing from you
again. My permanent address in Philadelphia, but I am here at the
Lambertville one about half the year-- probably until the first of
November this year.

Once again thanks, and my very warmest regards,

DENVER CHAPTER

Presents

MAURICE RAVEL
IN LECTURE-RECITAL

ASSISTED BY

LISA ROMA
Soprano

AT
COLORADO CONSISTORY No. ONE AUDITORIUM
SUNDAY AFTERNOON
FEBRUARY NINETEENTH
AT 4:00 O'CLOCK

ADMISSION AT DOOR $2.00

STUDENTS $1.00

(The Chapter is planning for a "Musical Frolic" for its members in the near future.)

Mason & Hamlin

"The World's Finest and Most Costly Piano"
Is On The Stage

It is impossible to convey in words an
adequate idea of the surpassing tonal
quality of the Mason & Hamlin Piano.

Yet, that which baffles verbal expression
is very real. As you play the Mason &
Hamlin Piano you will know. Listening
to it this afternoon will tell more than
words why it is the chosen instrument
of Ravel and Roma, and so many other
world-famous artists.

Mason & Hamlin, and Mason & Hamlin with The Ampico
in Denver, Exclusively at

The Denver Music Co.

1536 - 40
Stout St.

Private
Salons

Established
45 Years

MAURICE RAVEL

"At the age of fifty-two, Maurice Ravel will emerge from the quietude of his comparatively secluded life in Montfort-l'Amaury and will make his first tour of the United States as expositor of his own music. Deeply absorbed in the problems of creative work and little concerned with self-exploitation, Ravel has appeared rarely as pianist and conductor in recent years, and his visit to America will be of rare significance to himself as well as of epochal importance to his admirers in this country." (Ray Brown, *Musical America*).

Maurice Ravel was born in Cibourre (a small village in the Basses Pyrenées near the Spanish border) on March 7, 1875.

When very young he went to Paris where he studied piano under the direction of Anthiome and later in the "Conservatoire de Musique" with de Bériot, harmony with Pessard, counterpoint and fugue with Gédalge, and composition with Fauré, and about that period he made the acquaintance of Erik Satie from whom he certainly derived his ironic humor.

RAVEL'S OWN PERSONALITY

To describe Maurice Ravel's personality, nothing better could be quoted than what Mr. Olin Downes of the New York Times wrote after a personal interview with the French Master in London recently. It is typical of Mr. Ravel.

"Something much older than himself looks from the eyes of Ravel," says Downes. "It is the spirit of an experienced and ironical race. He is urbane, Parisian, and very swift. He came into the room before one knew he was there, examining everything, the furniture, the ceiling—everything seemingly except his company, which he was examining closest of all, talking very rapidly the while to the air."

"His dress was exceedingly plain, fastidious, exotic. And now he sat in a very charming garden known to a few, fussing with his food, sampling a Ravelian liqueur, saying the most monstrous things, in phrases that cut so swiftly that seconds flew by before the full and awful import of the words sank into a slower brain. A real Parisian, an artist, French to the bottom of his soul, on his native heath, and in the most capital fettle. A humming bird would have been maladroit in his company. M. Ravel grinned behind his lips, shot quick glances, which took in everything, guyed the millenium and roasted the universe."

Downes laments his inability to "reduce the suavity, the politesse, the glitter of Maurice Ravel to dull and ponderous Anglo-Saxonism. It is a violence," he writes, "a crime, and besides, an impossibility, since this Ravel is as incorrigibly himself as Paris or France, which, whatever their outward semblance, change in nothing essential. What they know, they knew before our age was in swaddling clothes. They are not going to change all that for any new-fangled bourgeois contraptions. Just try to instruct Ravel. His guest looked and listened, finding it difficult to take eyes from a face which had at moments the very look of some old portrait of a Rameau or Voltaire, or to keep from shouting at the Gallic felicity, the Gallic irony, breeding and point and smack of him. That's what he was—in his kind, a complete and supreme creation!"

PRINTED IN U. S. A.

# RAVEL SONGS

## “SHEHERAZADE”

### I

#### ASIE (Asia)

Land of wonderful tales renowned in ancient lore, where fancy's spirit dwells like some fair, sleeping empress, 'mid her forest in mystery clad. O Asia! Fain would I now set forth in your swift little schooner, gently rocking in harbour this eve, with aspect strange and very lonely, which at tomorrow's dawn her red sails will unfurl like a gigantic bird of night in a golden sky.

Fain would I now set forth tow'rds the islands of flow'rs, list'ning the while as chants the wilful sea the theme of some old magic spell.

Fain would I see Damascus and the cities of Persia with minarets so light high in the air; fain would I see soft, silken turbans twined o'er dusky faces with glist'ning teeth.

Fain would I see dark eyes burning with love, their pupils shining and sparkling with joy, their skins a yellow of the ripest orange.

Fain would I see the dress with rich velvet folds, the garment with long fringes bordered.

Fain would I see the calumets tight held in mouths hidden by beards grown long and snowy.

Fain would I see sour looking merchants with eyes askew; the cadis, too, and the great viziers who have but to raise up their finger an inch to grant either life or death, perchance, just as they will.

Fain would I see Persia, India—aye, even China; stout mandarins who loll under umbrellas, princesses sweet with tiny hands, and learned men loudly debating over poetry and the charms of beauty; I would linger a while at a palace enchanted, and, like some foreign travelling sage, contemplate at my ease old landscapes done in colours rare on lovely textures framed with pine, with someone in the midst of an orchard, alone.

Fain would I see murderous wretches who smile whilst the headsman chops off innocent heads with scimitar deadly of true Eastern shape.

Fain would I see poor beggars and rich queens.

Fain would I see the rose and trace of blood.

Fain would I see men die of love or else of hate,

And then, later, returning home, my story strange relate to those who believe in dreams, from time to time raising up my old Arabian cup, like Sinbad of yore, just to my lips, only to break off the tale with art. ...

### II

#### LA FLUTE ENCHANTEE (The Enchanted Flute)

Cool the shade and deep my master's sleep, wearing his soft silken conical cap, his long yellow nose in his snow white beard. But I, who patiently vigil keep, I can hear far away, sweet music of a flute which creates in turn the yearning to laugh and to weep, a tune now of languorous charm, now quite gay, which my own beloved doth play, and when I draw near to the casement high, then each note, as 'twould seem, doth hither fly, from the flute to touch my face, in mysterious sweet embrace.

### III

#### L'INDIFFERENT (The Heedless One)

Soft as a maid's those sad eyes of thine, O youth unknown, and the noble curve of thy classic features newly shaded with down, looks far more seductive still in line. And in the song which at my door thou dost sing, speaks a tongue unfamiliar yet dulcet, like music false in ring. Enter! Perchance a cup will lend thee spirit . . . But no, thou goest; so from my threshold I see thee depart, with a graceful sign to shew thou'lt not tarry, and with hip ever so lightly bent, by a step as of a girl who's weary. ...

# "HISTOIRES NATURELLES"

## LE PAON (The Peacock)

He certainly has a mind to marry today. He meant to marry yesterday. In his regal robes decked, proudly he stood. He only waited for the bride. But he waited in vain, surely he will come. Superb, he struts about like some royal potentate of India, laden with priceless gifts for his betrothed. His passion heightens the colours of his plumes and sets his aigrette trembling even as a lyre. But the bride cometh not.

He mounts upon a roof and with steady eyes he turns to the sun. Gives out his cry demoniac. Leon! Leon! That is the name he gives his future bride. She is nowhere in sight; no one answers to his cry. Even the drowsy barnyard fowls have ceased to marvel at his beauty. They do not even raise their heads. So he descends to the ground, so sure of his splendour that he is incapable of annoyance. 'Twill do tomorrow as well as today!

And having naught to do to idle away the time, he struts onward towards the steps. Mounts them one by one with slow and majestic demeanor, as one would the steps of a shrine. Then he lifts his robe with its glorious shimmer of eyes which ever watch and follow. And again the imposing ceremony he repeats.

## LE GRILLON (The Cricket)

Of wandering tired at last, the little insect returns to his small home, and there sets himself to work, its disorder quickly to repair. So first with his broom, he sweeps and brushes the narrow walk. Fresh sawdust then he throws on the threshold of his tiny home. He rubs up the roots amongst which he dwells till they creak a faint complaint. He rests awhile. Then sets to winding up his minute time-piece. Is it all right? Not broken, I hope? Once more he settles down to rest. He enters his home, the hall-door shutting; and turns and turns in the tiny little lock his minute key. He pricks his ears; nothing stirring out there. And yet he scarcely feels himself safe. So, as with a rusty chain that grumbles as it moves, into the earth he then lets himself down. Nothing more is heard.

Silence broods over the country; ghostly tall poplars point like fingers stretched out heavenwards towards the pallid moon.

## LE CYGNE (The Swan)

He floats across the pond like a snow-white sledge, from this to that reflected cloud, for he craves above all things to catch a cloud appearing, moving, and that soon is lost in the depths. So he softly approaches, gives a tentative peck and then suddenly thrusts his whole neck down into the water. Then as a woman pulls her arm from a sleeve, he draws it back. Nothing there. He looks down: but the fugitive clouds have all vanished. Yet 'tis only a moment's peace he may have, for back again they come to raise a vain desire, and over there, where the scarcely perceptible ripples die, there is one forming just now.

So he sails softly away on his cushion of plumes and once again starts his hunting. He exhausts himself vainly chasing shadows and reflections, and he might even die a victim to this illusion without ever having caught one tiny morsel of cloud.

But what am I saying? Every time he dives he probes with his beak and brings wriggling forth a succulent worm. He grows fat as a goose.

## LE MARTIN-PECHEUR (The Kingfisher)

Not a single bite today, but I experienced the rarest delight. Quietly I held my fishing-rod extended, when a little kingfisher perched on the end. Of all our birds, there are none more brilliant than he. Sitting there he looked just like some blue flower on a long stalk. My rod bent under his weight. And I scarcely dared to breathe, so proud was I that the wee bird mistook me for a tree. And I am sure when he flew away it was not from fear, but that he thought himself flying from one branch to another.

## LA PINTADE (The Guinea Hen)

This is the hunchback of my courtyard. She dreams but of evil because of her hump. The hens ignore her: abruptly, she hurls herself at them and torments them. Then lowering her head and inclining her body with all the speed of her thin feet, she

runs and strikes with her hard beak, just in the center of the strutting turkeys spreading tail. This snob irritates her.

Thus with her bluish head and her fiery gills, she rages from morning till night.

She fights without reason, perhaps because she always imagines that she is being mocked at for her figure, her bald head and her flat tail. And she never ceases to send forth a discordant scream which pierces the air like a point. Now and then, she leaves the courtyard and disappears, giving the peaceful hens a moment's despite.

But she returns, more turbulent and noisy than before and frantically she rolls on the ground. What is the matter with her? The crafty one is playing a trick. She has just laid her egg in the fields. I can go and search for it, if it amuses me. And she, hunchbacked one, still rolls in the dust!

# FIVE MELODIES "CHANSON GREQUES"

## 1. LE REVEIL DE LA MARIEE (THE AWAKENING OF THE BRIDE)

Awaken, awaken, sweet Partridge
Open thy wings to the morning
My heart is scorched by three grains of beauty
See the ribbon, the golden ribbon that I bring to you
Tie it round your hair
If you wish, my sweet, we shall marry
In both our families, all will be united.

## 2. LA-BAS VERS L'EGLISE (YONDER, TOWARD THE CHURCH)

Yonder toward the Church
Toward the Church AYIO SIDERO
The Church O Holy Virgin
The Church AYIO CONSTANDINO
All united in Infinite number
Our people O Holy Virgin
Our people in good repute.

## 3. QUEL GALANT! (THE HERO)

Such a Hero, none compares with me
Of those who pass in review
Tell me, Dame Vassilike?
See, suspended from my belt
Pistols and sharp sword
And, it is Thou whom I love.

## 4. CHANSON DES CUEILLEUSES DE LENTISQUES (SONG OF THE MASTIQUE GATHERERS)

O, Joy of my soul, joy of my heart
Treasure that is so dear to me
Joy of the soul and of the heart
Thou whom I love ardently
Thou are beautiful, more beautiful than an Angel
O when thou appearest, Angel so sweet
Angel so sweet before my eyes
Like a beautiful blond Angel under the Sun's Rays
Alas! All our poor hearts sigh!

## 5. ALL IS GAY! (TOUT GAI!)

All is gay, Ah! All is gay!
Tra, la, la, la, la, la
Beautiful dancing feet
Beautiful tinkling dance
Tra, la, la, la, la, la,

English Translation by LISA ROMA.

Phones: DIVersey 2957-8-9

ROSCO METALIZING CO.
(INC.)

1156-1160 CHATHAM COURT
CHICAGO, ILL.

DECORATIVE UNITS
STAIR CASE PANELS
NEWEL POSTS
ORGAN GRILLS
SPANDRELS
PLAQUES
RELIEFS
SCROLLS
GRILLS
BUSTS
ETC.

May 10, 1932

Arnold Ronnebeck Studio
1300 Logan Street
Denver, Colo.

Gentlemen:

Our electro metalized process enables us to entirely cover or seal plaster or composition casts of every description with a substantial sheet of copper over which we can apply any of the finishes noted at the bottom of this letterhead.

We preserve every particle of the sculptor's detail to the fullest extent and to give you a clearer idea of our work we are sending to you, under separate cover, a cut through sample which will also serve to show you the thickness of the metal which we apply to your casts.

Our prices are extremely moderate, representing only a small fraction of that of solid cast bronze and our finished product is far superior. The enclosed photograph illustrates a few of the subjects we have metalized.

We will gladly give you our estimate for metalizing any units which you might have upon receipt of information from you as to what they are, the finish desired and how many of them you want done.

Soliciting such inquiries, and hoping that it will be our pleasure to hear from you often in the future, we remain

Metalizing in Bronze, Chromium, Gold, Silver, Cadmium, Copper, Etc. on Plaster or Rosco Composition

Ronnebeck Qualification

Education

American citizen.

1. Schools in Europe
   Schools in America

2. Museums here and in Europe

3. Experience as Founder and director of Denver Art Museum

7. Purchaser of Old Masters for City of Denver

5. Amount expended in those purchases

6. Opinion as to authenticity and value of art objects and
   and pictures

7. Sculptor

8. Lecturer on art generally

9. Have you examined Plaintiff's exhibit A in this case?

10. Have you made a thorough study of it?

11. Have you examined it microscopically?

12. Have you been present when a photograph was taken of it?

13. Dis you see another photograph of it?

14. Have you formed a professional opinion as an art expert in
the judgment of this picture?

15. What is that opinion?

16. Is it what it termed an "Old Master"?

17. What does that mean?

18. About when was it painted?

19. How do you base your opinion as to that?

20. Can you say who painted this picture? Sasso Ferrato
1605-1685.

21. Who was he?

22. Was he an "Old Master"?

23. If you definitely cannot say it was painted by Sasso Ferrato
   can you say who did paint it?

24. Can you say it was done by one of the "Old Masters" of the
seventeenth century?

25. What is the value of this picture?

26. Is it more or less valuable now than it was Jan. 15, 1932?
Market on art things has gone down in the depression.

27 Why does this picture look like a Sasso Ferrato? collors, etc.

28 Have you with you photographs of other pictures known to have been done by Sasso Ferrato?

29 May I see them? Offer them in evidence.

30 Show the jury the similarity of those photographs with this
Plaintiff's exhibit A.