SOCIETE ANONYME INC.
(Museum of Modern Art)

44 West 57th Street, NEW YORK CITY, has been founded to provide a public non-commercial center for the study and promotion of MODERN ART.

In addition to exhibitions of paintings and sculpture, the MUSEUM places at the disposal of visitors a carefully selected REFERENCE LIBRARY on MODERN ART, in various languages.

A lecture by some well-known artist or critic is given in connection with each exhibition.

The SOCIETE ANONYME INC., asks the co-operation and support of all who are interested in the vitality of AMERICAN ART.

Acquaintances contribute $5.00

Friends contribute $10.00

Founders contribute $500.00

Societe Anonyme, Inc.

opens its

20th Exhibition of Modern Art
on

Wednesday - April 16, 1924
to

April 29, 1924, inclusive

44 West 57th
New York

Gallery Open Daily

Except Sundays

From 10 to 6 P. M.

Mondays - 2 to 6.

LOUIS M. EILSHEMIUS

Every now and then Nature loves to have her revenge on Man, and so it was that approximately sixty years ago, Louis Eilshemius was born in Laurel Hill, New Jersey, on February 4th -- a delicate, sensitive lad, who was destined to express himself as a painter, poet and musician.

Out of the neighborhood of Newark, into the heart of New York, teeming with material life, Nature decided to thrust this delicate personality, vibrating with art.

It is very rare that Nature is so prodigal in her gifts. She contents herself generally with one, but this lad was to be overwhelmed with her generosity -- something for which he had to suffer all his life.

Few can understand the interpreter of one art, and rarely is he who can express himself in many arts and many languages, understood, by even one.

Born, as was stated, in New Jersey in 1864, he was taken as a child of ten to Europe, where after several years of travel, he settled down to study art for three years in Dresden. In 1881 he returned to New York, to study landscape painting under Robert C. Minor, and after his success in 1886, went to continue his studies at the Julian Academy in Paris for another season.

1892 saw him spending the winter in Spain and Africa, after which he once more returned to America, where he lived with his parents on East 57th Street.

In 1903, he took his profitable trip to the Island of Samoa, which resulted in the group of pictures we are exhibiting here. On this trip he included New Zealand.

Next Italy drew him to her, and in Rome he had a studio for part of the year 1909.

The rest of his years were broken, with summers spent at the Delaware Water Gap and the White Mountains, which to him were always peopled with nymphs, gnomes and spirits of the other world.

After the first flare of success, which came to him, as mentioned, in 1886, when as a young man of 22 his picture was hung on the line at the Academy, it receded once more, until in 1917, Marcel Duchamp discovered the genius New York had been hiding all these years.

In 1921 it gave the Societe Anonyme great pleasure to present a one-man show of his works, which it repeats with renewed pleasure in this year of 1924.

SOCIETE ANONYME INC.

(Museum of Modern Art)

44 West 57th Street, NEW YORK
CITY, has been founded to pro-
vide a public non-commercial
center for the study and pro-
motion of MODERN ART.

In addition to exhibitions of
paintings and sculpture, the
MUSEUM places at the disposal
of visitors a carefully select-
ed REFERENCE LIBRARY on MODERN
ART, in various languages.

Friends contribute $10.00

Founders contribute $500.00

Societe Anonyme, Inc.

opens its

Wednesday - April 16, 1924
to

April 29, 1924, inclusive

44 West 57th

New York

Gallery Open Daily

Except Sundays

From 10 to 6 P. M.

Mondays - 2 to 6.

LOUIS M. EILSHEMIUS

Every now and then Nature loves to have her revenge on Man, and so it was. that approximately sixty years ago, Louis Eilshemius was born in Laurel Hill, New Jersey, on February 4th -- a delicate, sensitive lad, who was destined to express himself as a painter, poet and musician.

"LADY" VERE 3 Narratives
140 pp. $1.10

By LOUIS MICHEL EILSHEMIUS, M. A.

Painter, Poet, Musician, Inventor
Linguist, Mystic, Educator, Prophet, etc.

Most versatile - original - prolific.

"Vastest art genius of all time." *Book Chat.*

DREAMERS PRESS - 1.30-3 P. M. - 118 E. 57th St., N. Y.

SOME COMMENTS.

Your poems are splendid. Your Mammon reads like Keats.

Your magic phrases ring in my ears.

Selma H. Epstein.

Your poetry is away ahead of the others.

A. S. Draper.

Beautiful! Beautiful!

Rosina La Rossignol, Actress.

Shakespeare and Milton bow before you.

J. Taylor.

Your sonnets prove you foremost of Americans.

James French.

SWEETNESS

The hush within some rose-grown garden's pale
Is sweet, when night-bees hum their honey-strains,
Too, tender trills of birds, when evening wanes
And softly spread the early stars their trail
Of sigh-hued light of diamond and of gold.
And sweet the zither-lays, while shimmering plains
Burst to a rose-flushed splendor, none explains;
Too, the low lullaby in some quiet fold.

'Tis sweet to watch the children o'er the fields;
Or hear the murmurs of the woods at morn.
Or feel Spring's dreaming, when all flowers are
born.

But sweetest, which God's satisfaction yields,
Is the rose-pout of love-thrilled lips, sealed fast
To mine own lips, so life and love will last!

LOVE

Lingering lull, low lending lutist-lays,
Love! lust lies livid—lone.
Lovely lotus-lilting longing allays.
Lost love loves long love's loan!

By LOUIS MICHEL EILSHEMIUS

"Protean Poet of the World"

Call or write to 118 East 57th St., New York City

## CHAPTER I

# Some Properties of the Human Body's Electricity

The human body has electrical powers that seem to be unknown to the average mortal.

There are several mysterious manners to influence our electrical powers. A few of these I have discovered while experimenting in public places: theatres, trolley-cars and restaurants.

A brief account will interest others who might try to assume powers that lay dormant all their life-times.

Books on mesmerism do not furnish data on the electrical properties of our bodies. Hypnotism, etc., have to do with animal magnetism only. They do not mention electricity.

For years I have worked on their lines. However, magnetism is somewhat unsatisfactory, inasmuch as it is necessary to have the subject aware that you are exerting magnetical powers. In the new case this is not required; in fact, the person under my control must not know that I am influencing him.

Now for a few rules to be observed—

### 1. To make a stranger fall asleep:

Say we are in a trolley-car; I am seated, seemingly gazing in the air—but actually my direct glance is focussed on a man seated opposite to me. I keep my eyes on his eyes, not forgetting to gaze directly on the pupil of his eye. Then I *slowly* move my head up and down. Very soon he will close his eyes. Of course, the vertical movement of the head must be performed so unobtrusively that no one can suspect you are doing it.

Should the stranger be more educated, then you have to use your mind in addition to the head movement. When a man of average mentality is my subject, my merely catching his eyes is sufficient to make him fall asleep.

To make him come to, nothing else is needed than to look around and forget that he is there. Shortly he will open his eyes.

### 2. To influence persons at a distance:

Say you are in your room and, looking out of the window, you see a young lady in a window on the other side of the street. This is a considerable distance to derive results. However, it can be done.

To wit: Steadily gaze at her (of course, she has no idea that you are there). While so doing repeat to yourself "Look at me" several times, all the while using the up-and-down head movement. All at once she will turn her head, she feeling your influence without seeing you. You have her in your control. If your desire is to flirt with her, all right. If not, keep out of her sight. At this stage you can make her actions subservatory to your caprice.

For instance: Gaze at her, moving your eyes up and down, varying this with more energetic head movements. Rivet your mind on, say, "Get up and get a book to read"; repeat this phrase for some half-minutes, while keeping your eyes fixed on her. After a minute or so, according to her susceptibility to electric currents, she will get up, go for a book, come back to the window and read.

Any other devoir you command her to do she will submissively execute. Try it.

With the above tactics I invariably succeed anywhere.

A variant to the above is this: When seated next to anyone, especially a young woman, a simple way is to breathe upon her, best on her neck—then move your eyes vertically as well as your head, and in a few seconds she will start up. If, in a theatre, anyone is seated in front of you, just breathe on the back of her neck and move your eyes and head vertically. She'll sure turn about-face.

It is to be understood that in all the aforementioned proceedings you must not let your subject be aware that you are using your electrical powers. For as soon as she is noticing you she will exert counteracting powers to stifle the effects of your efforts, and that would be fatal to your endeavors.

Thus ends the chapter on the means to control individuals by using the electricity stored up in our mysteriously-wrought body.

## CHAPTER II

# Some Discoveries Concerning the Mechanism Of the Bowels

Once upon a time, while feeling constipated, I accidentally touched the spot just above the vermiform appendix. After a minute's time a strange result followed, namely: I felt my bowels slowly moving. Sitting in an erect position, at once the bowels moved, cleansing the entire intestines. This I do each morning while I am at stool with favorable results.

Another means to thoroughly cleanse the bowels is this: After the regular defication has transpired, sit up in erect posture, then gently touch the clavicle muscles once or twice; then wait a minute. Soon a sensation will be caused to the peristaltic organ: at once a rush of almost fluid excreta will pass the anus, and you have truly cleansed bowels.

In addition to the above manipulations, right after having touched the mentioned spots use your right hand and move it up and down along the abdomen—do not press, mere passes of the hand will do—in order to give the abdomen a sort of electrical bath.

Never exert pressure to the body!

## CHAPTER III

# Painting Discoveries

Place a 30x35 or larger *blank* cardboard or *pulp*board (better) used by framers on back of pictures on easel. Take palette with Burnt Sienna, New Blue, Chrome Yellow, one Light, one Dark, and tube of Zinc White, then take large bristle brush in right hand; dip in any color you like and splash same *indiscriminately* any place on board. Repeat seven times.

You'll have a conglomerate series of spots and strokes put there without a thought (best way is: turn your face *to side* and just wield the brush haphazard).

Then stand back three feet and from that mess *create* some fine decorative
painting by *combining* spots, etc., with your *imagination*.
I have achieved wonderful results, fine as Japanese and Chinese screens.
Try it, you artists!

2. FOR FLU (water color-like effects):

Use plenty of Linseed Oil with the pigment and use a Cabinet varnishing
sable brush and treat evenly on board pulp or canvas. *In* this, paint objects.

3. FOR INTERIORS:

Paint the *entire* pulpboard with *light colors* at first until you have the *air* quality you desire. Then paint *in* all objects and the figures of persons the next day. This will insure *air* in a room.

4. FOR SUNLIGHT AND MOONLIGHT:

Paint moon or sun first; then paint landscape to the key of the moon. This
insures *glow* in the moon.

5. TO MAKE YOUR PAINTING HUM:

Choose one or two objects and keep them *darkest* in landscape. This, like a
tuning-fork, makes picture *sing*!

6. HOW TO PRODUCE PORTRAITS IN A JIFFY:

Size up the sitter's head characteristics, then take brush with his flesh-tint
color and lay that on the canvas. Then paint in the *detail* on the painted surface
—eyes, nose, mouth, etc. Thus can anyone finish portrait in fifteen to twenty
minutes—if he is an *expert* draughtsman.

7. STUDENT:

When out of doors *seek* for a beautiful spot or vista. Then draw *accurately*
all the detail. Then *start* painting. You will have a masterpiece to show the
world—not a sketch or a daub.
Thus endeth my lecture for today. Selah!

DR. LOUIS M. EILSHEMIUS, M.A.

January 26, 1932.

H

5

CHAPTER IV

A New Electric Belt

The best inventions are those that prove simplicity itself. Autos, airplanes,
newspaper presses, etc., are so complicated that a layman cannot manipulate
them. Even electric belts of the doctor profession are costly and do not add to
the comfort of the wearer.

— BEHOLD! —

I have discovered a belt that is no belt at all. The cost is the price of any
man's shirt. Well, to the point: Cut off the superfluous length up to the *level*
of an inch *above* the hips. Now when you desire electrical effects, merely *tighten*
the *back* of the shirt and allow the *front* part of the shirt to be loose and bulge out
with *no pressure* on abdomen. There you are. Magic cannot improve it. Dis-
covered in 1915 by

DR. LOUIS M. EILSHEMIUS, M.A.

In General

I discovered a way to put motor mechanism in airplanes, namely: watching a
bee vibrate his wings vigorously and keeping poised in air. All a plane needed
was a vibratory appliance—viz.: the iron-steel propellers in use a few years *after*
*my* discovery.

This was in 1895 in Central Park.

In 1886 I thought about air-waves. At first I experimented with water-
waves, by using them to signal to ships off-shore. Then air communication
proved more feasible and wireless telegraphy was the result. Telsa came *after*
*me!*

In 1877 I discovered a way to print. I used wax—wrote on it; let it dry.
Then used an ink over the wax to fill in deep-pressed letters. Then put it down
on suitable blank paper—presto! the writing was duplicated. Someone must
have seen my discovery in the magazine the editor printed at the time in 1878.

I discovered a new cure for slight venereal attacks. I got tired of the profes-
sional long-winded method—dangerous injections, etc.

I thought it over. Why, try Listerine. Don't inject. Put fluid right on neck
outside. Not too much at one time; just till a burning sensation is felt; then stop.
Repeat every two hours for an afternoon and before retiring.

Begorra! the next morning it has almost vanished. Then continue every four
hours for the next day.

The third day you are cured.

Let Nature do its *own* cure. No doctor can do it. Superfluous expense and
worry to the patient.

Once I fell on stairs in dark. My elbow was lacerated and muscles a bit
swollen. I let it *alone*. It got well in a week's time.

Let NATURE CURE YOU!!

DR. LOUIS M. EILSHEMIUS, M.A.

January 30, 1932.

## In Literature

Among the hundreds of self-evolved stanza-forms and new rhymes I merely write down the most important. In my "Companionship" the fourteen-line stanza I invented one night at 10 P. M. while desiring to emulate Poe's stanza of Poe's "The Raven." Read my book of 50 pages in print these twenty-five years.

During the same year (1907) I invented my **Eilshemean Measure**, wishing to excell Sappho's Galliambic Measure. I quote lines of it:

> In the trill'ring of the enrapturing sweet birds—

> Love! is it true that I heard accents of thy lovely voice?

> — etc. —

I also invented two new sonnet forms with different contents in its fourteen lines from the traditional sonnet on the "Erotic Sonnet".

For NEW verse forms with their structure to SUIT THE MOOD of the subject I *stand superior to any poet*, past or present—have one thousand of them!

In my prose works, similar novel styles of diction, of handling short stories and placing action in the sentences are apparent, while reading my novelettes, etc.

## In Music

My compositions are utterly original in their new tempi, their incomparable, exquisite and dramatic conceptions to move to soul-ecstasy any one sensitive to music's finer sounds and harmonies. This will suffice. Order my compositions! from me.

— FINIS —

Written in 1932 by

MAHATMA DR. LOUIS M. EILSHEMIUS, M.A.

Mightiest All-Round Man

Supreme Parnassian, Wonder of the Worlds
Transcendant Eagle of Art

Etcetera

That oil is as good as a Van der Uhde. That one
moonlight is ahead of Cezanne. You have achieved
what the Old Masters would have, but did not know
how. Your drawings are better than Whistler's. You
are supreme.

Adam Cournos (1929)

Your woodland scenes, with nudes or does, are su-
perior to Courbet's. Your masterpieces are full of
poetry and music.

Margarita Prendergast (1930)

Your paintings sing. Your watercolors are su-
perior to Marin's.

Henry McBride

Your drawings are unexcelled. You'd make a master
etcher.

Sydney Kellner (1930)

And other eulogies.

LOUIS MICHEL EILSHEMIUS
M. A.

Most Marvelous Painter
in Oils and Water Colors
Master Draughtsman in Pen and Pencil

COME AND SEE

Inspect over 4,000 oils, waters, 1500 drawings of
scenes in 20 countries. A real educative output non
pareille.

Most wonderful colorist of all Nations. Greatest
Fantastic Painter, Drama's own. Mystic Marvel—
Dynamic Artist of the World, etc.

JUDGE FOR YOURSELF

"You are ahead of all American intellectuals."
Clement Morro (Paris)

At His Rooms—118 East 57th Street
1.30 to 3 P. M.

EVENING—Ithaca Hills.

A Water Color. Painted in 1883.

By Louis M. Eilshemius

A Few Comments

Why! All the modern French masters are no-
where after I've seen your wonders of the brush. You
are the God of all. Drawings—better than Picasso, etc.
There—a Goya, Corot, Rembrandt etc. could not sur-
pass your miracles of mastership. Bravo, Eilshemius,
Bravo. Greater than Clivette, Painter of Posters.

Patrick Codyre (1930)

Jongkind would shake hands with you. You are
head and shoulders above your contemporaries.

Myron Le Shay (1924)

What energy! All are outstanding. Your selfmade
frames are fascinating, perfect.

Dr. John Uber (1930)

Adam Courtos (1929)

Margarita Prendergast (1930)

Henry McBride

Sydney Kellner (1930)

And other eulogies.

LOUIS MICHEL EILSHEMIUS
M. A.

COME AND SEE

Most wonderful colorist of all Nations. Greatest
Fantastic Painter, Drama's own, Mystic Marvel—
Dynamic Artist of the World, etc.

JUDGE FOR YOURSELF

At His Rooms — 118 East 57th Street
1.30 to 3 P. M.

2

3

A Few Comments

Patrick Codyre (1930)

Myron Le Shay (1924)

Dr. John Uber (1930)

EVENING—Ithaca Hills.

By Louis M. Eilshemius

AN UNUSUAL INVENTOR IS
LOUIS MICHEL EILSHEMIUS, M.A.

Educator, Ex-Actor, Amateur All Round Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 Languages, Graphologist, Dramatist (7 Works), Short Story Writer and Novelettes (26 Works), Humorist Galore, Ex-Mimic, animal voices and humans, Ex All Round Athletic Sportsman (to 1889), Universal Supreme Critic. Ex Don Giovanni, Designer of Jewelry etc., Spiritist, Spirit-Painter Supreme, Best Marksman to 1881, Ex Chess and Billiard Player to 1909, Scientist supreme: all ologies, Ex Fancy amateur Dancer, The most rapid master creator in the 3 Arts, Most wonderful and diverse painter of nude groups in the world. Travelling salesman—in 30 cities on 30 nights, Philanthropist, Saved 20 lives—3 from suicide, Greatest Religionist, Globe Trotter, Half the Globe, Western.

His middle name is "Variety". All the supreme Genius Minds down the ages find Domain in

EILSHEMIUS

Born 1864

near Newark, N. J.

A few Inventions and Discoveries

1. How to paint wonderful frames around his paintings in gold, mahogany, any material (1911)

2. Discovered his Magic Ink. Brown and Indelible (1919)

3. A Game: "Sixers" (fine to play on trains like pinochle)

4. A Cure for Diseases (1917)

5. A new way to Mesmerise (1915)

6. A quick new way to paint portraits and interiors.

7. How to make moon and stars glow, also real water and waves to dash, etc.

(Printed Nov. 1930)

8. Paints in 50 technics.

He Lives at 118 East 57th Street, N. Y. C.

SOME COMMENTS

Your "Funeral March" is fine as Chopin's
NEW YORK'S FOREMOST MUSIC DEALER (1908)

When you improvise it's just like Beethoven's Sonatas.
MONSIEUR LA SALLE (1898)

Your "Eonone" is beautiful.
MRS. LUCINE ELGIN (1926)

You play and improvise wonders for Grand Opera performances.
You produce, off hand, pieces like Hungarian Zardas.

OTTO LENGENFELDT (1912)

"Is that Verdi you played?" "No. It's my own music, just now created!"
Like your painting, your touch over the keys is exquisitely delicate.

JOSEPHINE LEVY (1930)

Beautiful. Why, you're a fine piano-player.
MR. AND MRS. ROBERT BRACKMAN (1930)

AND OTHERS

"LADY" VERE 3 Narratives

140 pp. $1.10

SOME COMMENTS.

Selma H. Epstein.

A. S. Draper.

Beautiful! Beautiful!

Rosina La Rossignol, Actress.

J. Taylor.

James French.