Archives Scrapbooks

The image shows a page from a book or a document titled "The A. B. Duel Collection." The text discusses the significance of a collection of nearly 4000 Japanese prints, which were donated to the Fogg Art Museum by a group of anonymous donors. The collection was originally built by Dr. Arthur B. Duel of New York, who raised $200,000 for the purchase, with the provision that the collection could be expanded through judicious exchanges.

The text highlights the importance of this collection for teaching art at the University and expresses gratitude to the donors. It also includes an excerpt from a review by Herman Warner Williams, Jr., a graduate student in Fine Arts, who praises the aesthetic value of the Japanese prints and notes that their significance was initially unrecognized by native Japanese collectors due to prejudices about their origins. The appreciation for these prints began in the western hemisphere in the mid-19th century, credited to the open-mindedness of western taste.

The page is illustrated with a Japanese woodblock print titled "Hiroshige, Monkey Bridge," depicting a serene landscape with a bridge and trees.

The image is a page from a document titled "The A. B. Duel Collection." The text is from the March 1933 issue of the Fogg Museum Bulletin, authored by Langdon Warner, who was the Keeper of the Oriental Department at the Fogg Art Museum.

The document discusses a collection of nearly 4000 Japanese prints that was donated to the museum by anonymous donors. Langdon Warner initially found the importance of these prints to be underappreciated, even though the collection was significant. He mentions that Dr. Arthur B. Duel of New York contributed to the collection's growth by raising funds of $200,000 through judicious exchange.

The text also includes a brief review written by Herman Warner Williams, Jr., who is a graduate student in Fine Arts. Williams highlights that the aesthetic value of these prints was initially overlooked by native Japanese collectors due to preconceived notions about their origin. He notes that the appreciation for Japanese prints grew in the Western world, particularly among cultured individuals in the mid-nineteenth century, and this recognition was fueled by Western taste without being constrained by traditional prejudices.

The page features an illustration titled "Hiroshige, Monkey Bridge," showcasing a traditional Japanese print depicting a scenic landscape with a bridge.

The image is a page from a document titled "The A. B. Duel Collection." The page appears to be from a historical publication, likely from the early 20th century, discussing the donation of nearly 4000 Japanese prints to the Fogg Museum, now part of Harvard's Art Museums.

Here's a detailed summary:

1. Text Content:

   • The document discusses the March 1933 issue of the Fogg Museum Bulletin, where Langdon Warner, the Keeper of the Oriental Department of the Fogg Art Museum, noted the recent gift of 4000 Japanese prints. Warner expressed that the full importance and scope of the collection had not yet been fully understood.
   • The text emphasizes that the collection was built by Dr. Arthur B. Duel and donated anonymously, with the donors raising $200,000 for the purchase. This gift is described as high in quality and valuable for teaching art.
   • Herman Warner Williams Jr., a graduate student in Fine Arts, wrote a brief review highlighting that the aesthetic value of these prints was initially not recognized by native Japanese collectors due to a prejudice against their lowly origins. Western collectors later recognized their beauty.
   • The text mentions that the appreciation for Japanese prints started with a few cultured people in the Western hemisphere in the middle of the 19th century.

2. Visual Content:

   • The page features an image of a Japanese print titled "Hiroshige, Monkey Bridge." This print is a landscape featuring a bridge over a river with trees and a mountain in the background, characteristic of traditional Japanese woodblock prints.

3. Contextual Information:

   • The document indicates that the collection's significance was initially underestimated but later recognized as a significant contribution to the understanding and appreciation of Japanese art.

4. Miscellaneous:

   • The page number is marked as "81" in the top right corner.
   • The page itself is creased and appears to be part of a larger document, possibly a catalog or a report.

Overall, the document highlights the historical context and significance of the A. B. Duel Collection of Japanese prints and the recognition of their artistic value by Western audiences.

The image depicts a page from a document discussing the A. B. Duel Collection of Japanese prints, which was donated to the Fogg Art Museum at Harvard University.

Key points from the text include:

1. Introduction of the Collection:

   • The text refers to an article from the March 1933 issue of the Fogg Museum Bulletin, where Langdon Warner, the Keeper of the Oriental Department, mentions the significance of the collection of nearly 4000 Japanese prints gifted to the museum by anonymous donors.

2. Significance and Value:

   • Langdon Warner notes that the importance of these prints was not fully understood initially. Over time, the cataloging and arrangement of the collection have revealed its true value.

3. Collection Background:

   • The collection was built by Dr. Arthur B. Duel of New York. The donors raised $200,000 for the purchase, which suggests the collection's high quality and value.

4. Aesthetic Appreciation:

   • Herman Warner Williams Jr., a graduate student in Fine Arts, provides a review of the collection's aesthetic value. He highlights that Japanese collectors initially overlooked these prints due to prejudice against their origin, but they were eventually recognized for their beauty by Western collectors in the 19th century.

5. Image:

   • The page includes an image of a Japanese print titled "Monkey Bridge" by Hiroshige. This artwork is used to illustrate the aesthetic and cultural value of the prints in the collection.

The overall document emphasizes the historical and aesthetic significance of the Japanese prints in the Duel Collection and acknowledges the generosity of the donors who made it possible for the museum to acquire such a valuable collection.

The image displays a page from a publication discussing "The A. B. Duel Collection."

The main text on the page includes the following details:

1. Introduction and Context:

   • In the March 1933 issue of the Fogg Museum Bulletin, Langdon Warner, identified as '03 and Keeper of the Oriental Department of the Fogg Art Museum, discussed a recent donation.
   • The donation consisted of nearly 4000 Japanese prints given by a group of anonymous donors. Warner noted that the full significance and scope of this collection had not yet been fully realized at that time.

2. Progress and Importance:

   • Over the months since the donation, the cataloging and arrangement of the prints have advanced significantly, generating more interest in them.
   • The collection was notably built by Dr. Arthur B. Duel of New York, who was supported financially by anonymous donors contributing up to $200,000 for its purchase.
   • This gift is described as being free of restrictions, high in quality, and of immense value for the teaching of art at the university.

3. Gratitude and Review:

   • The text expresses that the university cannot adequately convey its gratitude to the donors.
   • A brief review of the collection by Herman Warner Williams, Jr., a graduate student in Fine Arts, is mentioned.

4. Historical Perspective:

   • Williams notes that the aesthetic value of these Japanese prints was not recognized early by Japanese collectors due to a deep-rooted prejudice against their lowly origins.
   • The appreciation for Japanese prints began with a few cultured Western individuals in the mid-19th century. This interest was driven by Western tastes, unhampered by traditional biases, and quickly recognized the intrinsic beauty of these prints.

5. Illustration:

   • The page features an image of a Japanese woodblock print titled "Monkey Bridge" by Hiroshige.

Overall, the text emphasizes the significance of the A. B. Duel Collection, its value to art education, and the historical context of the appreciation of Japanese prints.

The image is a page from a document discussing the A. B. Duel Collection of Japanese prints. The text is divided into two columns with an image of a Japanese print titled "Hiroshige, Monkey Bridge" placed between them.

The text provides background information on the collection. It mentions that in March 1933, part of the Fogg Museum's collection of nearly 4000 Japanese prints was loaned to the Museum by a group of anonymous donors. The donors raised $200,000 for the purchase, and the collection was named after A. B. Duel of New York. The document notes that the collection is valuable for teaching art at the University and expresses gratitude for the donation.

The text also includes a brief history of Japanese print collecting, written by Herman Warner Williams, Jr., a graduate student in Fine Arts. It explains that the aesthetic value of Japanese prints was not recognized by native Japanese collectors until the Western hemisphere showed interest. The Western appreciation for these prints, free from traditional prejudices, quickly recognized their intrinsic beauty.

The image of the print depicts a scenic landscape with a river, trees, and a bridge, capturing the essence of traditional Japanese art.

The image shows a page from what appears to be a publication or book. The top section of the page is text under the heading "The A. B. Duel Collection." The text discusses a substantial donation of Japanese prints to the Fogg Art Museum by Dr. Arthur B. Duel of New York, mentioning specifics such as the near 4,000 Japanese prints given, and the considerable sum of $200,000 for their purchase.

The lower section of the page features a reproduction of a Japanese print titled "Hiroshige, Monkey Bridge.” The image in the print shows a tall, slender tree in the foreground to the right side, with its branches reaching upwards alongside the vertical composition. Beyond the tree, in the middle ground, there is a depiction of a bridge stretching across a body of water, with a person visible on the bridge. The background consists of what appear to be mountains or hills shrouded in mist, adding depth and atmosphere to the scene.

The bottom of the page contains some additional text, which is partially cut off. This text reflects on the Western perception and appreciation of Japanese prints, touching on the aesthetic evaluation and acceptance of these works of art in Western hemisphere, particularly from an art historical perspective.

The image shows a page from a document titled "The A. B. Duel Collection." The page appears to be part of a catalog or report, likely from an art museum or academic institution. The content discusses a significant collection of Japanese prints donated to the Fogg Art Museum. Here are the key details:

Text Content:

1. Introduction:

   • The text begins with a reference to the March 1933 issue of the Fogg Museum Bulletin, mentioning Langdon Warner, the Keeper of the Oriental Department.
   • It highlights the donation of nearly 4,000 Japanese prints by anonymous donors, emphasizing that the full scope and importance of the collection had not yet been fully grasped.

2. Context of the Donation:

   • The collection was purchased by Dr. Arthur B. Duel of New York, who raised $200,000 through anonymous donors to acquire it.
   • The donation is described as a gift that is free of restrictions, of high quality, and of immense value for teaching art at the university.

3. Appreciation:

   • The text expresses gratitude to the donors and acknowledges the generosity of the gift.
   • A brief review of Japanese prints is mentioned, written by Herman Warner Williams, Jr., a graduate student in the field of Fine Arts.

4. Historical Context:

   • The text discusses the historical appreciation of Japanese prints, noting that their aesthetic value was not fully recognized by native Japanese collectors until the 19th century.
   • It highlights the role of Western collectors in appreciating these prints, attributing this shift to the intrinsic beauty and unique qualities of the art form.

Illustration:

• To the right of the text, there is a detailed black-and-white illustration labeled "Hiroshige, Monkey Bridge."
  • The illustration depicts a traditional Japanese scene featuring a bridge, trees, mountains, and a monkey, likely referencing a famous work by the ukiyo-e artist Hiroshige.
  • This visual element complements the discussion of Japanese prints and serves as an example of the art form being described.

Design and Layout:

• The page is clean and formal, typical of academic or museum publications.
• The text is typed in a serif font, and the illustration is neatly placed to the right, creating a balanced layout.
• The page number "81" is visible in the top right corner, indicating this is part of a larger document or catalog.

Overall Impression:

The page serves as an informative and appreciative overview of a significant art collection, emphasizing the historical and cultural importance of Japanese prints and the generosity of the donors who made the collection possible. The inclusion of the Hiroshige illustration adds a visual representation of the art being discussed, enhancing the reader's understanding of the subject matter.

The image is a scanned page from a book or a document that appears to be a historical record or a scholarly article. The page is titled "The A. B. Duel Collection" and is part of a larger document, as indicated by the page number "81" at the top right corner. The page contains a combination of text and an image.

The text on the page discusses the A. B. Duel Collection, which is a collection of nearly 4000 Japanese prints donated to the Fogg Museum Art Museum by an anonymous group. The collection was donated in March 1933 and was received by Langdon Warner, the Keeper of the Oriental Department of the museum. The text mentions that the collection is not yet fully cataloged and arranged, but the museum is making progress in that regard.

The text also highlights the significance of the collection, stating that it is a splendid gift, free of restrictions, of high quality, and of inestimable value for teaching art in the university. It emphasizes the importance of recognizing the generosity of the donors and the lasting sense of gratitude that such a gift can produce.

The image on the page is a black-and-white illustration of a landscape scene, possibly a Japanese landscape print. The image is labeled as "Hiroshige, Monkey Bridge," indicating that it is a work by the famous Japanese artist Hiroshige. The illustration depicts a bridge over a river or stream, with trees and mountains in the background.

Overall, the image and text on the page provide information about the A. B. Duel Collection of Japanese prints at the Fogg Museum Art Museum and highlight the significance of this collection for art education and the appreciation of Japanese art.

The image shows a page from a book or a magazine with text and a photograph. The text is about the A.B. Duel Collection, which is a collection of Japanese prints donated to the Fogg Art Museum. The photograph shows a tree with a bridge and a river, and it is titled "Hiroshige, Monkey Bridge." The page has a watermark on the top right corner that reads "81."