Archives Scrapbooks

The image is a newspaper clipping from the Boston Evening Globe dated March 29, 1958. The headline reads, "Art 'Auction' Raises $7025" and the subheading states, "‘Harvard’s Day’ Gives Lift To Drive for $82,500,000." The article is by Edgar J. Driscoll and discusses an art auction held to support Harvard’s Day in Cambridge, with a focus on the contributions from the Fogg Art Museum at Harvard.

The article mentions that nearly 1000 alumni and friends attended the 2½-hour program, which included a discussion of the works "sold" on the block by a panel of experts. It notes that the auction featured 12 works from the Fogg Collection, with the total amount raised by the auction being $7025, which went to the program for Harvard College.

The article details the various works that were sold, including a copy of a Copley portrait, a copy of an Italian 14th-century "St. Agnes," a 4th-century "Eros," a Renoir oil sketch, a Constantin Guys scene, a rare Piranesi drawing, an early 17th-century Italian bronze, a 12th-13th-century sculpted stone Buddhist head from Cambodia, a study for a sculptured Madonna and Child by Henry Moore, and a study for the Harkness Commons Dining Room mural at Harvard by the Spanish artist, Joan Miró.

The article also mentions that some of the works later turned out to be fakes, while others were authenticated as being from the Fogg Collection. The authenticity of some works was still in question. The auctioneer, William A. Smyth of the Parke-Bernet Galleries, Inc., N.Y., was noted for his experience in auctioning off masterpieces of art.

The article concludes by stating that the paintings and sculptures were not sold at all, but were used for teaching purposes. The auction was held in Paine Hall and was attended by a large crowd of alumni and friends. The article also includes a list of lucky bidders and a panel of experts who provided tips on art facts.

This image is a photograph of a newspaper clipping from the "Boston Evening Globe," dated March 29, 1958. The article is titled "Art 'Auction' Raises $7025" and subtitled "'Harvard's Day' Gives Lift To Drive for $82,500,000." It is written by Edgar J. Driscoll and discusses an unusual art auction staged by Harvard University's Fine Arts Department as part of its "Harvard's Day" fundraising event.

The article describes the event where nearly 1000 alumni and friends attended a 2 1/2 hour program that included an auction of 12 works from the Fogg Collection. The auction raised $7025, which was to be used for the Harvard College program. The auction was conducted by William A. Smyth of the Parke-Bernet Galleries, Inc., N.Y.

The article mentions that two of the auctioned works were later revealed to be fakes, while the authenticity of a third piece was still under dispute. It lists the items auctioned, including a copy of a Copley portrait, a copy of a 14th-century "St. Agnes," a 4th-century "Eros," a Renoir oil sketch, a Constantin Guys painting, a Piranesi drawing, a 17th-century Italian bronze, a 12th-13th century Buddhist head from Cambodia, a Henry Moore sculpture, and a Joan Miró study.

The article also notes that the auction was a teaching tool, and the works were not actually sold but were part of the Fogg Collection. It concludes with a list of other lucky bidders and a panel discussion on art facts led by various experts in the field. The overall tone of the article is informative and highlights the unique nature of the auction and its significance to the Harvard fundraising drive.

This image displays a vintage newspaper article from the Boston Evening Globe, dated March 23, 1966.

The headline reads:

“Harvard’s Day” Gives Lift To Drive for $82,500,000

The article, written by Edgar J. Driscoll, reports on a unique, highly successful, and somewhat controversial art auction held at Harvard University’s Fogg Art Museum to benefit the university’s capital campaign.

Key points from the article:

• Purpose: The auction was part of “Harvard’s Day,” a fundraising drive that ultimately raised $7,025 – a significant sum at the time, especially from the sale of artworks.
• Participants: Nearly 1,000 alumni and friends attended the 2½-hour event held in Paine Hall.
• The Artworks: The auction featured 12 works from Harvard’s own Fogg Collection, chosen to be “sold” for the drive.
• The Twist: Three of the artworks were later revealed to be fakes. These included a copy of a Copley portrait, a copy of an Italian 14th-century “St. Agnes,” and a 4th-century “Eros.” The article notes these were "all bona fide candidates for 100 percent pure fakes," with experts later debating the authenticity of a third piece.
• The Bidding: Despite (or perhaps because of) the revelation that some pieces were fakes, the auction was a resounding success. Bidders competed enthusiastically, with some even raising a second time for re-auctioning the fakes.
  • The fake Copley portrait sold for $500, then $900, and finally went for $200 to a bidder who wanted to buy it a third time.
  • The most valuable item was the Renoir oil “At the Milliner’s” by Auguste Renoir, which fetched a high price of $1,850 for the charity.
  • Other notable sales included a “Roman Architectural Fantasy” drawing by Smith for $700, and a “Going, going, gone…” sketch by Constantijn Huygens for $200.
• Auctioneer: William A. Smith of the Parke-Bernet Galleries in New York served as the auctioneer, with his “spirited chant” contributing to the event’s energy.
• Panel Discussion: The program included a panel of experts who discussed the works, and later held a separate session to educate the audience on how to distinguish fakes from originals — a practical lesson given the nature of the auction.
• Notable Bidders: Among the successful bidders were members of the Coolidge, Sargent, and Hill families, as well as prominent academics like Professor John McAndrew.
• Justification: The article explains that the artworks, including fakes, were “used for teaching purposes” and that their sale was a condition for benefiting the Harvard drive. The fakes, though not authentic art, had educational value and generated funds for the university.

Tone and Style: The article is written in a lively, narrative style, capturing the excitement and slight absurdity of the event. The headline and the opening quote, “Going, going, gone…” set a tone of high drama and entertainment surrounding an essentially educational and philanthropic endeavor.

In essence, this is a fascinating snapshot of a clever fundraising stunt in 1960s academia, blending art, education, philanthropy, and a healthy dose of showmanship. The reveal of the fakes became part of the spectacle, turning a traditional art auction into a memorable and successful event for Harvard’s ambitious capital campaign.

The image is a newspaper clipping from the Boston Evening Globe, dated March 29, 1958. The headline reads "Art 'Auction' Raises $7025 'Harvard's Day' Gives Lift To Drive for $82,500,000." The article discusses an auction held by Harvard University to raise funds for a capital campaign aiming to collect $82,500,000.

The auction, which took place on a Saturday afternoon, was organized by Harvard's Fine Arts department in collaboration with the Fogg Art Museum. The event was attended by nearly 1,000 alumni and friends, and the auction was led by a panel of experts.

The auction raised a total of $7,025. Among the items auctioned were 12 works from the Fogg Collection, which were identified as fakes by experts. These fakes included copies of an Italian 14th-century Madonna, all bona fide candidates for the 100 percent pure "Eros" proved a matter of opinion. Other items included a Constantin Guys "Go-to-Hell" drawing, an early 17th-century head from Cambodia, a 13th-century sculptured stone head by Henry Moore, and a Child mural at Harvard by the Spanish artist Josep Maria Sert.

The authenticity of the works was not disputed, as the idea was to auction off mass-produced items that would otherwise have been discarded. The auction also featured works by notable artists such as John Singleton Copley, Henry Sargent, and Thomas Cole.

The highest price fetched was $1,150 for a bust of Benjamin Franklin by Jean Antoine Houdon. Other notable sales included $600 for the "Philip Walkers" by Copley, $300 for the "Guys," and $300 for the "Miro."

The article also mentions other lucky bidders who acquired works by artists such as John Singleton Copley, Henry Sargent, and Thomas Cole. The auction was a success, contributing to the university's fundraising efforts.

The image is a scanned page from a newspaper featuring a headline that reads "Art 'Auction' Raises $7025." The article is about an art auction held at Harvard University, which raised a total of $7025. The auction was part of a program called "Harvard's Day," which included various activities and a sale of art works. The article mentions that the auction attracted nearly 1000 alumni and friends of the university, and it featured 12 works from the Fogg Art Museum, including some fakes identified by experts. The highest price fetched was $1800 for a painting by the artist Copley, and the auction also included works by other artists such as Miro and Philip Walker. The article provides details about the auction process, the works sold, and the tips for art facts.

The image is a scanned page from a newspaper dated March 29, 1958, featuring an article titled "Harvard's Day" Gives Lift To Drive for $82,500,000. The article is from the Boston Evening Globe and discusses a significant fundraising event held by Harvard University. Here is a detailed description of the content and layout:

Headline and Subheading

• The main headline reads: "Harvard's Day" Gives Lift To Drive for $82,500,000.
• The subheading states: "By EDGAR J. DRISCOLL", indicating the author of the article.

Article Content

The article details a special event held at Harvard University, referred to as "Harvard's Day", which was part of a larger fundraising campaign aimed at raising $82.5 million. Key points from the article include:

1. Event Overview:

   • The event took place on Wednesday afternoon and featured an unusual art auction.
   • The auction was organized to support Harvard's Arts Department, contributing to the university's fundraising efforts.

2. Auction Details:

   • Nearly 1000 alumni and friends attended the event.
   • The auction included a discussion group led by an art expert, with works displayed on the walls.
   • The total amount raised by the auction was $702,500, a significant contribution to the fundraising goal.

3. Highlighted Items and Bids:

   • The article mentions several notable items auctioned, including:
     • A 12th-century Italian bronze sculpture.
     • A 13th-century sculpted Madonna by the Henry Moore school.
     • A study for a sculpted Madonna by Child by Henry Moore.
     • A Spanish Renaissance oil painting by Juan Miro.
   • High bids included:
     • $500 for "The Milliner's Wife" by Frank Duveneck.
     • $500 for "The Coptic Renoit" by John Singer Sargent.
     • $600 for "The Coptic Renoit" by John Singer Sargent, which was later sold for $300 due to a bidding dispute.

4. Notable Bidders:

   • The article highlights several prominent bidders, including:
     • Mrs. Charles G. Aldred, who purchased a $290 Dwight Buddison head of Stephen Wheatland.
     • Mrs. Lucy Campbell, who bought a $225 Buddhist Robinson jar.
     • Mrs. John Sargent, who acquired a $200 panel that followed the "Rocking and Rolling" panel by John Singer Sargent.

5. Authenticity Concerns:

   • The article notes that some items, including a Copley portrait and a copy of an Italian 14th-century "St. Agnes", were proven to be fakes. This revelation caused some controversy and raised questions about the authenticity of other works.

6. Teaching Uses:

   • The article mentions that some of the paintings and sculptures were not sold but were instead retained for teaching purposes. This highlights the educational value of the auction beyond its financial contributions.

Layout and Design

• The page is formatted in a classic newspaper style, with columns of text and headlines in bold type.
• The article is accompanied by a smaller sidebar titled "Used for Teaching", which elaborates on the educational use of certain artworks.
• The bottom of the page includes additional text and possibly a continuation of the article or related content, though it is partially cut off in the image.

Visual Elements

• The page has a yellowed, aged appearance, typical of scanned historical newspapers.
• There are column dividers and margins typical of newspaper design.
• The text is typed in a serif font, consistent with mid-20th-century printing styles.

Overall Context

The article captures a moment of significant fundraising and cultural engagement at Harvard University in 1958. It highlights the intersection of art, education, and philanthropy, showcasing how an auction of artworks could contribute to both financial and educational goals. The mention of fakes adds a layer of complexity, reflecting the challenges of authenticity in the art world during that era.

This page provides a glimpse into the cultural and financial landscape of Harvard in the late 1950s, emphasizing the role of art auctions in supporting academic institutions.

This is a newspaper clipping from the March 29, 1958 edition of the Boston Evening Globe featuring an article by Edgar J. Driscoll titled "Harvard's Day" Gives Lift To Drive for $82,500,000. The article highlights a fundraising event organized by Harvard University's Fine Arts Department. An art auction, held as part of "Harvard’s Day," raised $7,025 from the sale of 12 pieces from the Fogg Art Museum's collection.

The auction featured masterpieces, including a Renoir oil sketch, a Piranesi drawing, a bronze sculpture, and a Buddhist head from Cambodia. Some of the pieces were later revealed to be reproductions or inauthentic, which sparked debate. The event attendees included nearly 1,000 alumni and friends who supported the fundraising goal.

The clipping also mentions participants in the auction, the significant bids offered, and the fundraising efforts’ success. It notes that most of the auctioned artworks were intended for teaching purposes and were loans that winners had to return within five years. The event demonstrated a spirit of engagement in supporting Harvard’s ambitious $82.5 million fundraising drive.

• The image is a scanned newspaper clipping from the Boston Evening Globe, dated March 29, 1958.
• The main headline reads: “Art ‘Auction’ Raises $7025” and underneath it another large title: “Harvard’s Day’ Gives Lift To Drive for $82,500,000.”
• Byline: By Edgar J. Driscoll. The article discusses an unusual art auction staged by Harvard’s Fogg Art Museum as part of Harvard’s Day in Cambridge.
• Key details:
  • About 1,000 alumni and friends attended a 2½-hour program.
  • Twelve works from the Fogg Collection were auctioned; two later turned out to be fakes, and one other piece’s authenticity was debated.
  • The total amount raised was $7,025, all going to Harvard College.
  • The event took place in Paine Hall.
  • The piece mentions the raising of funds as part of a larger drive estimated at $82,500,000, with various anecdotes about bidding, a Piranesi drawing, a Roman Architectural Fantasy, and other items.
  • A section labeled “Copy of Copy” explains the fakes and notes some authentic pieces that were sold.
• The page has the look of a late-1950s newspaper clipping with dense columns of small type and bold serif headlines, slightly yellowed with age.

The image shows a digitized newspaper clipping from the Boston Evening Globe, dated March 29, 1958. The headline reads, "Art 'Auction' Raises $7025,” with a subheadline, " 'Harvard's Day' Gives Lift To Drive for $82,500,000." The article is by Edgar J. Driscoll.

The article details an unusual art auction organized by Harvard's Fine Arts Department as part of its contribution to Harvard's Day. It mentions that nearly 1000 alumni and friends attended, and the program included a discussion of the works "sold" on the block by a panel of experts. The funds raised, amounting to $7025, were all to go to the program for Harvard College.

The auction, held in Paine Hall, featured 12 works from the Fogg Collection. A twist was revealed later: all of the sold items were actually fakes or copies, and the buyers were made aware that the pieces were not original works.

Further down, the article discusses how the individuals who participated in the bidding were aware that the pieces were for teaching purposes and did not buy into the ruse under the pretense of obtaining authentic art. It served as a teaching method for valuation and identifying forgeries, with the fakes being used for teaching purposes at Harvard.

The rest of the clipping elaborates on the details of the auction, the items that were presented as fakes, the actual money spent, and the individuals who bid on the items.

The text also mentions some tips on art facts given at the event and the names of individuals who were part of the auction and analysis posterity.

The bottom of the clipping is incomplete, cutting off in the middle of a sentence about individuals related to the art world who were involved in the event.

This image shows a newspaper clipping from the Boston Evening Globe dated March 29, 1958. The headline reads:

"Art 'Auction' Raises $7025
'Harvard's Day' Gives Lift To Drive for $82,500,000"

The article is by Edgar J. Driscoll and describes an art auction event staged by Harvard's Fine Arts Department as part of Harvard's Day in Cambridge. The auction featured works from the Fogg Art Museum's collection, with proceeds going to Harvard College's fundraising drive.

Nearly 1,000 alumni and friends participated in the event, and the total amount raised was $7,025. The auction included 12 works, some later revealed as fakes, others still disputed regarding their authenticity. The article discusses the mixed authenticity of items, including a fake Copley portrait and a 14th-century Italian "St. Agnes," and bona fide pieces such as a Renoir oil sketch, a Piranesi drawing, and sculptures from various periods and places.

John T. Coolidge, director of the Fogg Museum, is quoted about the risks and rewards of auctions. The highest price fetched was $1,850 for a Renoir oil "At the Milliner's." The article also names several winning bidders and notes their generosity in re-auctioning works to benefit the fund. Additional sections give tips on art facts and list names of people involved in the auction and analysis panel.

The clipping is aged and has some wear, with visible fold lines and a few small tears and discolorations. The article covers the event as a spirited effort to support Harvard's fundraising goals through an innovative art auction experience.