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ARCH.2003.23, Rendition: 795052
The image appears to be a page from a book or a collection of clippings, with several newspaper articles and articles stapled or affixed to it. The articles are dated from October 1924 and discuss plans for the Fogg Museum and its collections, specifically mentioning the acquisition of old French etchings by Charles Meryon. There are also references to the museum's new building plans and the need for additional funds. The page has a vintage appearance, with a yellowed paper and a decorative border on the left side. The text is neatly typed and organized into columns, typical of newspaper articles from that era.
This image shows an open scrapbook page containing several cut-out newspaper articles and clippings, all related to the Fogg Art Museum at Harvard University. The page is dated from October 1924 and features the following:
Top Left Article:
Middle Left Article:
Bottom Left Article:
Top Right Article:
Bottom Right Article:
The scrapbook page is well-organized, with each article neatly pasted and clearly labeled with dates and titles. The articles provide insights into the museum's development plans, acquisitions, and the discussions surrounding its future use.
This image displays a spread from a vintage scrapbook or news clipping album, opened to a page that contains several newspaper articles related to the Fogg Art Museum at Harvard University. The articles are dated in October 1924 and appear to be from the Harvard Crimson, as indicated by the date format and content.
The central and most prominent article, titled “ADD OLD FRENCH ETCHINGS TO FOGG ART COLLECTIONS” (dated Oct. 16, 1924), announces the acquisition of 20 prints by the French artist Charles Meryon. These etchings — described as brilliant, unusual, and historically significant — were donated by the late Joseph B. Marvin. The article notes that Meryon’s work was done during the reign of Louis Napoleon, depicting scenes of old Paris, including views of St. Jacques and the cathedral of Notre Dame. It also mentions an autographed print by Meryon to his teacher, Héry, and highlights the rareness and importance of this collection.
To the left, under the heading “FOGG MUSEUM PLANS”, an article dated Oct. 18, 24 discusses fundraising and construction plans for a new Fogg Museum building. It states that $6,000,000 has been pledged (out of a $10,000,000 goal) for a new structure designed by Perry, Shaw & Hepburn, to be located at 42 Quincy Street. The article mentions plans for a complete library, laboratories, and study rooms for students and researchers.
Below that, under “MERYON ETCHINGS”, another article (Oct. 15, 1924, also from the Crimson) elaborates on the Meryon donation, specifically describing the autographed print and its provenance, as well as noting that Meryon etchings are especially rare and valuable.
In the bottom left corner, a small article titled “MORE FUNDS FOR FOGG” (Oct. 21, 24) reports additional donations totaling $100,000 from various sources, including $50,000 from Mrs. Edward W. Kuhns and $50,000 from the family of Edward W. Kuhns, among others.
On the right-hand page, a column titled “WHY NOT THE WORKSHOP?” (dated Friday, October 17, 1924) questions why the Fogg Art Museum doesn’t convert its existing space into a workshop or experimental theatre for the Fine Arts Department. The article argues that space is scarce, and repurposing the current building for experimental work — while planning a new, purpose-built museum — would be both feasible and beneficial.
Handwritten annotations in ink are visible on the page, including underlinings and date notations (e.g., “Transcript Oct. 15, 1924”) that appear to cross-reference or categorize the clippings.
The scrapbook itself shows signs of age — the pages are yellowed and the paper is brittle — and the binding is worn at the edges, giving it a historical and tactile quality. The layout of the clippings is dense and informal, characteristic of archival or personal documentation of institutional developments in the 1920s.
In summary, the image captures a moment in the institutional history of the Fogg Museum, showcasing its expansion in both physical infrastructure and art collection — specifically through the addition of significant French etchings — while also reflecting debates about the museum’s role and spatial use on campus.
The image shows an open book with several articles and advertisements printed on the pages. The pages have a yellowish hue and appear to be old, with some wear and tear visible. The text is in black and white and includes headings such as "Fogg Museum Plans" and "Add Old French Etchings to Fogg Art Collections." The articles discuss the establishment of a new museum, the acquisition of French etchings, and the need for funds to support the museum's development. The advertisements include information about a workshop and a request for donations.
The image shows a page from a book or magazine, which is open to reveal two pages. The pages are filled with text, and there are a few headlines and subheadings. The text appears to be written in a typewriter font, and the paper has a yellowish hue, indicating that it is old. The top of the page has a headline that reads "ADD OLD FRENCH ETCHINGS TO FOGG ART COLLECTIONS." The text below the headline is written in a smaller font and provides more information about the topic. There are also some other headlines and subheadings on the page, which suggest that the book or magazine is a news publication. Overall, the image gives the impression of an old news article or report about the addition of French etchings to the Fogg Art Collections.
The image shows an open book with aged, yellowed pages, likely from an archive or historical document. The book appears to be a collection of records, possibly from a museum or institutional setting, given the formal and structured content. Here is a detailed description:
The image depicts a page from an archival or institutional record, likely from the Fogg Art Museum, detailing plans for a new building and the acquisition of old French etchings. The content reflects the museum's efforts to expand its collection and build its facilities, with a focus on historical and artistic significance. The aged appearance of the document suggests it is from the mid-20th century.
This is a single scrapbook page containing several small newspaper-style clippings pasted onto a yellowed, aged page. The clippings are arranged in a rough collage, with different typefaces and borders, and some are cut into narrow columns or short rectangles.
Key content:
Overall, it’s a historical collage page about the Fogg/Fogg Museum’s plans, fundraising, and acquisitions in the 1920s, focusing on French etchings and museum expansion.
This image shows an open scrapbook page with several newspaper clippings and handwritten notes affixed to it. The clippings are articles discussing topics related to the Fogg Art Museum, including its art acquisitions, funding, and developments. Some focus on the addition of old French etchings to the museum's collections and contributions by specific individuals. The texts are formatted in columns, and one item contains handwriting in the margins to indicate dates or specific headings. The page shows signs of aging, with yellowed paper and a classic scrapbook layout.
The image shows a page from a publication, which seems to be an archival document or a clipping from an old newspaper or magazine. On the page, there are multiple columns of text, with the layout typical of newsprint from an earlier era, including headlines, subheadings, and densely packed text blocks.
There are three main articles visible on the page:
The primary and largest article on the left is titled "FOGG MUSEUM PLANS, Funds for Education -- New Building Nearly Realized -- Complete Laboratory for the Study of Paints and Mediums to Be Provided". This article discusses the plans for a new Fogg Museum structure and funding details. References to laboratory work for the study of art appear as well. The document is weathered, showing its age with some discoloration and fraying at the edges.
The top-middle article has the headline "ADD OLD FRENCH ETCHINGS TO FOGG ART COLLECTIONS". It mentions the addition of twenty prints by Charles Meryon, a noted French artist, to a university collection. It specifies that an autographed print is included in this collection. The date "Oct. 18, 1924" is visible above the article, likely indicating the date of the publication.
The top-right article is headlined with "WHY NOT THE WORKSHOP?" and critiques an architectural opinion about the Fogg Art Museum's design. It appears to defend the museum's choice of having a workshop as part of its design, explaining the usefulness of such a facility. The date "FRIDAY, OCTOBER 17, 1941" is visible at the top of the column.
Below the articles, on the left, there is a small section titled "MERYON ETCHINGS" that continues the discussion on the Fogg Museum's acquisition of Charles Meryon etchings.
In the bottom left corner, there's a smaller article titled "MORE FUNDS FOR FOGG", highlighting additional financial details and further funding for the Fogg Museum.
The document appears quite old, with notable yellowing and some minor damage at the edges. The overall feel is informative and historical, providing insight into the museum's past expansions and acquisitions.
The image depicts a scrapbook page containing several newspaper clippings. The newspaper articles are adhered to the page and are all related to the Fogg Museum at Harvard University.
The top left article is titled "FOGG MUSEUM PLANS" and mentions the nearly completion of the new building and the provision of a laboratory for paint and mediums study. The clipping has annotations at the top indicating the date "Oct 5 '24".
The middle clipping is titled "ADD OLD FRENCH ETCHINGS TO FOGG ART COLLECTIONS" discussing the addition of twenty prints by Charles Meryon to the museum's collection, including an autographed print from the late Joseph H. Marvin.
The article on the right is dated "FRIDAY, OCTOBER 17, 1924" and headlined "WHY NOT THE WORKSHOP?" The discussion centers around the potential functionality of transforming the museum into an experimental basis for educational and laboratory work based on the architectural value.
The clipping on the bottom left is titled "MERYON ETCHINGS" and reaffirms the acquisition of twenty prints by Charles Meryon by the Fogg Museum, explaining the significance and charm of the etchings.
The final clipping at the bottom right is titled "MORE FUNDS FOR FOGG" and discusses the financial aid received which was crucial for the museum's operations and expansions.
Each clipping varies in font size and layout, suggesting diverse sources and chronological entries related to news and events about the museum. The scrapbook page and the newspaper clippings are aged, with yellowish paper and some portions show minor tears and wear, indicating their archival nature.