Although I never had an office in the United Nations Headquarters building, my work at the United Nations Children's Fund (UNICEF) took me there frequently, and I always enjoyed the chance to view its art treasures. I was awed by the ancient Peruvian burial mantle, still in such pristine condition, and by the glorious Chagall stained glass window. I had a special fondness for Nigeria's insouciant sculpture of a lady, the Picasso tapestry in delicate pastel shades called "Woman on a Ladder" and Denmark's gift of the sole replica made of a Bronze Age "Chariot of the Sun", dug up by a farmer in 1902.

Taking friends through the United Nations Headquarters after my retirement, I realized that most of these works of art are not accessible to visitors taking the standard tour. That led me to the idea of a book about the UN art collection.

When I seriously embarked on the project, I discovered that in the richness and variety of its possessions, mostly gifts of Member States, the United Nations had the equivalent of a fine small museum, and that the sculptures, paintings, tapestries, mosaics and other works represent a veritable United Nations of art.

"This art of all nations", said Secretary-General Kofi Annan, "reflects the wonderful diversity of cultures and historical traditions that coexist at the United Nations. It also speaks of universal themes—peace, justice and human rights—shared by all the world's peoples."

In making their gifts to the United Nations, most nations have come forward with works of art reflecting the ideals and expertise of their finest artists. Some objects are of ancient origin; others illustrate the creativity of twentieth century artists. Some are purely ornamental, while others speak to the principal aims and achievements of the world Organization.

Appropriate decoration of the Headquarters was an early concern of the architects who planned the buildings. The theme of peace was reflected in many of the first offerings. Two huge murals representing "War" and "Peace", by the Brazilian artist Candido Portinari, dominate the Delegates' Lobby of the General Assembly building, along with Belgium's mural tapestry, "Triumph of Peace", one of the largest ever woven (pictured above). Other early gifts included a bronze equestrian statue of a woman, given by Yugoslavia, symbolizing peace, and a bronze sculpture, "Let Us Beat Swords into Plowshares" from the Soviet Union. In the Security Council Chamber is a mural by Norwegian artist Per Krohg (pictured in background on page 78). A mural by Jose Vela Zanetti of the Dominican Republic titled "Mankind's Struggle for a Lasting Peace" was the gift of the Guggenheim Foundation. Outside the General Assembly entrance is an 11th century sculpture from India and a 700 B.C. statuette of Osiris given by Egypt (pictured at left). Iran, Iraq and Turkey have given interesting replicas of ancient peace treaties.

Three of the finest items in the art collection were gifts in memory of Dag Hammarsjköld after his death in an African plane crash in 1961. Two are sculptures in the UN Plaza: a bronze statue by Henry Moore called "Reclining Figure: Hand" and a 21-foot "Single Form" sculpture by Barbara Hepworth. The third is the stained glass window by Marc Chagall, located outside the Meditation Room in the General Assembly building (pictured in background), a gift from Chagall and the UN Staff.

Fortunately, visitors to the United Nations can see the Hammarsjköld memorials, as well as the Japanese Peace Bell and various sculptures in the UN park. They can also view the mosaic called "The Golden Rule" based on a painting by Norman Rockwell, China's gift of an ivory carving representing the Kunming-Chungtu railroad, and a large reproduction of Thailand's Royal Barge, because all these objects of art are located on the third floor. Unfortunately, visitors do not have access to the second floor where many of the finest works in the UN Headquarters collection have been placed.

Inevitably, a delicate matter is the placement of donated objects. Donors generally want their gifts to be prominently displayed, and space is limited. The UN Arts Committee was originally headed by C. V. Narasimhan. Brian Urquhart took over from him and on his retirement, the responsibility was given to Assistant Secretary-General Alvaro de Soto.

Not all works of art offered to the United Nations are of prime quality. At Headquarters, it is the task of the United Nations Arts Committee to decide whether a particular object should be accepted. Sometimes extreme tact must be called into play to avoid a diplomatic incident. Perhaps the donor will consider an alternative selection. Individual artists and non-governmental organizations often seek to present works of art to the United Nations. While some were accepted in the past, a policy strictly observed for the last 20 years is to accept gifts only from Member States. In principle, Member States are limited to one gift, but in a few instances, more than one offering has been accepted.

While donors have always been responsible for installation of their gifts, there was for many years no obligation to maintain them. As a consequence, some became soiled by soot, coffee and other stains. The UN Arts Committee, in its custodianship, does what it can but is badly handicapped by lack of funds. In his 1990 report to the General Assembly's Fifth Committee, then Secretary-General Javier Pérez de Cuéllar noted that the UN art collection "has now reached a significant size and value monetarily, artistically and culturally, yet no adequate arrangement has been made for its systematic, professional control and conservation". Two years later, in 1992, the Joint Inspection Unit made a report entitled "Managing works of art in the United Nations".

This report recommended a modest budget for art conservation, including the salary for a part-time curator. The report went to the Fifth Committee of the forty-eighth General Assembly, with the Secretary-General's comments, but no funds were voted. Instead, the Assembly requested the Secretary-General "to continue to improve the management of works of art in such a manner as to avoid additional costs to the regular budget of the United Nations, with due regard to the quality of services being provided". The Assembly also recommended "the strengthening of the Arts Committee ... by the advice of local experts in honorary capacities". While it is to be hoped that a future General Assembly will vote the limited funds required for proper conservation of the collection, I have an alternative suggestion.

The United Nations inherited from the League of Nations four huge paintings by French artists that were re-installed in Geneva's Palais des Nations in 1938. One on "Peace and the Arts" was painted by Edouard Vuilliard, a world-class artist. Two are by Maurice Denis and Ker-Xavier Roussel, pioneers, with Vuilliard, among the Nabi painters, and well regarded in the art world. These canvases, also on the theme of Pedace, were removed from the walls of the Assembly Chamber when that vast room was renovated in 1960. They were rolled up and put in safe storage where they have remained for nearly 40 years, despite periodic appeals for their return. If, as seems likely, there is no plan for their re-installation, why not sell them and use the proceeds to maintain the art collection?

Another possibility to raise funds would be to stage at Headquarters, as a feature of the millennium year, a special exhibit of art from the UN collection, including a number of choice works that cannot be seen on the public tour. Proceeds from an entrance fee to this exhibit could be applied to conservation of the collection.

It is a collection worth conserving. As Diana D. Brooks, President and Chief Executive Officer of Sotheby's, said in her introduction to A World of Art—the United Nations Collection: "In an age when art is big business, the collection at the United Nations affords us the opportunity to turn our attention away from record prices and blockbuster museum shows, and encourages us to consider, in the spirit of diplomacy, the art of all nations."

Scrambled Eggs, Bugs Bunny . . . . . . and a mantle from the edge of time Just prior to the opening of the General Assembly building in 1952, two abstract murals designed by the French artist Fernand Leger were installed. Decorative, but devoid of symbolism. One is thought to resemble Bugs Bunny. When he saw them, United States President Harry Truman dubbed the other "Scrambled Eggs" (pictured at left). Perhaps the rarest of the treasures at Headquarters is a ceremonial burial mantle, a gift of Peru, said to be from 2,000 to 3,000 years old (pictured in background). Inca kings and nobles were wrapped in these mantles after death, and the resulting "mummy bundles", buried in a very dry area, were discovered about 60 years ago. The mantle is located in the south-west foyer, outside the General Assembly Hall, on the second floor. Also exhibited in this area are a lively modern tapestry from Senegal, two sandalwood statues from Indonesia, and an elaborately embroidered black silk curtain from Saudi Arabia, formerly the door covering of the Holy Kaaba in Mecca. In the corridor between the General Assembly and the Secretariat, staff members and delegates are able to view the Nigerian sculpture of Benin bronze, a 600 B.C. amphora of the Geometric Period from Cyprus, and a stunning brown tapestry reproduction of Picasso's famous "Guernica" mural. Nearby in the Delegates' South Lounge is the Picasso tapestry, "Woman on a Ladder". The fiftieth anniversary celebration of the United Nations in 1995 brought new gifts of art to the Headquarters from at least a dozen nations. Under the present policy, new donors are required to maintain, as well as install, their gifts. However, those officials responsible for the art collection have other pressing duties, so that with the best will in the world, questions of acquisition, placement and management of UN art are necessarily dealt with in an ad hoc manner.

About the Author:

Edward B. Marks' career of nearly fifty years in international humanitarian work has been divided equally about the United Nations and the United States Government, with some periods of service for non-governmental organizations. He has written for the New Yorker, The New York Times Magazine, and other publications, and is the author of A WORLD OF ART—The United Nations Collection. His first UN job in 1947 was at the Geneva headquarters of the International Refugee Organization (IRO) and he subsequently served as IRO's Chief of Mission in Greece; a quarter century later he joined the United Nations Children's Fund (UNICEF), serving in Geneva and New York. After his retirement in 1982, he served as interim President of the United States Committee for UNICEF and as Chairman of the Immigration and Refugee Services of America. Everyone has the right to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits. Everyone has the right to the protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author. —Universal Declaration of Human Rights, Article 27