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This image appears to be a collection of newspaper clippings and articles about early Italian engravings displayed in a notable show at the Fogg Museum in Cambridge. The articles are dated from November 9, 1915, and are published in the "Christian Science Monitor" and the "New York Times." The clippings provide details about the exhibition, including a description of the prints and the artists involved, as well as information about the loan exhibitions of early Italian engravings. The clippings also mention the importance of the exhibition in the context of the Fogg Museum and the contributions of various individuals involved in the exhibition and catalog preparation.

This image is a collection of clippings from newspapers and magazines, dated from November 1915, discussing an exhibition of early Italian engravings at the Fogg Art Museum in Cambridge. The clippings are arranged on a brown, aged piece of paper, which appears to be part of a scrapbook or collection of articles.

The main article, which spans the left side of the image, is from the Christian Science Monitor, dated November 9, 1915. It is titled "Early Italian Engravings in Notable Show" and provides a detailed description of the exhibition. The article mentions the Fogg Museum, the rare prints on display, and the significance of the exhibition in the context of early intaglio Italian engravings. It also discusses the techniques and styles of various engravers, including Pollaiuolo, Giulio Campagnola, and Mantegna.

On the right side of the image, there are two smaller clippings. The top one is from the New York Times, dated November 7, 1915, and is titled "The Print Exhibition at the Fogg Museum." It provides additional information about the exhibition, including the involvement of Francis Bullard and the quality of the prints.

The bottom right clipping is from the New York Tribune and is titled "Art Briefs." It also discusses the exhibition and mentions the contributions of Paul J. Sachs and William M. Ivins, Jr., in organizing the show.

The clippings are neatly cut and pasted onto the brown paper, and the text is legible, providing a historical perspective on the art exhibition and the significance of early Italian engravings.

This image displays a single, aged, yellowed newspaper page, likely from a broadsheet, dated Monday, November 9, 1915. It is enclosed in a clear protective sleeve, suggesting it is a preserved archival item. The paper shows signs of age, with a uniform brownish-yellow hue and some minor staining or foxing.

The page is structured with multiple columns and distinct articles, presented in a classic early 20th-century newspaper layout with dense text and varied headline styles.

Here is a breakdown of the visible content:

Left Column: "Christian Science" Section

• Headline: "EARLY ITALIAN ENGRAVINGS IN NOTABLE SHOW"
• Sub-headline: "Display at Fogg Museum, Cambridge, Contains Rare Prints Typical of Various Periods—Loans From Other Collections"
• Content: This article provides a detailed review of an exhibition of early Italian engravings at the Fogg Art Museum in Cambridge. It discusses the significance of the show for connoisseurs, the evolution of engraving technique from the "crystallization of Italian technique" to the "broad manner," and highlights specific works and artists.
• Key Mentioned Artists & Works:
  • Andrea Mantegna: Praised for his "unparalleled set" of "Liber Studiorum" prints, noted for his "broad manner" and "delicately treated shading."
  • Polidoro: Mentioned for his "Battle of the Naked Men."
  • Giulio Campagnola: Described for his "beautifully drawn and characterized study of St. John the Baptist" (No. 56), where the figure's "weight... upon the left leg" and "back-ground, which hints strangely of Giorgione" are discussed.
  • Botticelli: The "Assumption of The Virgin" (No. 18) is highlighted as possibly the "finest print" shown.
  • "The Old Shepherd" (No. 11) is also mentioned.
• Context: The exhibition is noted to honor Francis Bullard, who gifted prints to the Boston Art Museum; the Fogg's catalogue is described as "the most complete... in existence." The curator, Paul J. Sachs, and other collaborators like William M. Ivins, Jr., and Professor George H. Chase are credited.

Right Column: "New York Times" Section

• Headline (Top): "The Print Exhibition at the Fogg Museum."
• Content: This column largely reiterates and expands on the Christian Science article, confirming many details like the exhibition's opening date, its organization in honor of Francis Bullard, and the involvement of Paul J. Sachs, William M. Ivins, and Kits Roy Carrington. It specifically mentions the value of the "unparalleled set of Turner's 'Liber Studiorum'", the "remarkable collection of Canaletto etchings" from Francis Bullard, and the "fine manner" of "technical innovations of Giulio Campagnola." It also notes the special interest of early Tarocchi Playing Cards, Prophets and Sybils, and the "archaeological interest" of the prints for the public.
• Headline (Bottom): "New York Tribune (Continued Nov. 10)" followed by "ART BRIEFS".
• Content (Art Briefs): This is a smaller, summary section reiterating that a special loan exhibition of early Italian engravings is on view at the Fogg Art Museum (Harvard University) through December 5, 1915. It confirms the exhibition is in memory of Francis Bullard, arranged by Paul J. Sachs, and notes the significant contribution of 322 engravings from Bullard's own collection, with additional loans from other institutions and collectors like the Boston Art Museum, William M. Ivins, Jr., and Laura H. Dudley.

Overall Summary:
The image captures a historical artifact—a newspaper clipping from 1915—providing contemporary art criticism and reporting on a major exhibition of Early Italian engravings at the Fogg Art Museum. The articles collectively highlight the exhibition's importance, its impressive loan collection (particularly from Francis Bullard), and provide critical analysis of the works, especially those by Mantegna, Campagnola, and Botticelli, offering insight into early 20th-century art appreciation and museum practices.

The image appears to be a newspaper clipping or article about an exhibition of early Italian engravings at the Fogg Museum in Cambridge. The article provides details about the exhibition, including:

• The exhibition showcases early Italian engravings from various periods, with loans from other collections. It is considered one of the most representative exhibitions of early Italian engravings ever held in the country.

• The engravings on display are described as examples of the crystallization of Italian technique and artistry. The majority were created by secondary artists who worked for prominent engravers.

• The exhibition includes prints from notable engravers like Mantegna, Pollaiolo, and Ghiberti, as well as lesser-known artists.

• The article highlights specific prints on display, including Mantegna's "Battle of the Sea Monsters" and Pollaiolo's "St. John the Baptist."

• The exhibition is curated by Paul J. Sachs, Assistant Curator of the Fogg Art Museum, and features a catalogue compiled by William M. Ivins Jr.

• The article notes that the exhibition is exceptional in many ways and is a tribute to Francis Bullard, a notable collector and donor to the museum.

Overall, the image provides information about an exhibition of early Italian engravings at the Fogg Museum, highlighting the significance of the works on display and the contributions of notable collectors and curators.

The image shows a page from a newspaper or magazine featuring an article about an exhibition of early Italian engravings at the Fogg Art Museum, Cambridge. The article highlights the significance of the exhibition, which showcases notable engravings from various periods and loans from other collections. The exhibition is described as one of the most representative of early Italian engravings ever held in this country, with examples of the crystallization of Italian technique in the Mantegna-Raimondi school.

The article emphasizes the importance of the engravers' training and the quality of their work, which is attributed to the delicately pleasing shading of the background and the pleasing color of the paper. The exhibition is praised for its completeness and the quality of the impressions, with some engravings considered among the finest examples of this movement.

The article also mentions the collaboration of various individuals in preparing the catalogue, which is described as a valuable document for students. The exhibition is expected to remain on view until December 5 and is regarded as a whole as a representative one of original Italian engravings ever held in this country.

The image shows a page from a publication titled "Christian Science Monitor", dated November 9, 1918, featuring an article titled "EARLY ITALIAN ENGRAVINGS IN NOTABLE SHOW". The article discusses an exhibition of early Italian engravings held at the Fogg Art Museum, Cambridge, which is noted as one of the most representative exhibitions of early Italian engravings ever held in the United States. The article highlights the significance of the engravings, which are considered to be of the quattrocento period (15th century), and emphasizes the craftsmanship and artistic value of the works on display.

Key Points from the Article:

1. Exhibition Details:

   • The exhibition features rare prints from the Fogg Art Museum and loans from other collections.
   • It showcases early Italian engravings, many of which are from the quattrocento period.

2. Engravings and Artists:

   • The article mentions notable artists such as Paul Reeve, Maverick Smith, and Andrea Mantegna.
   • It describes the engravings as being of high quality, with delicate shading, intricate details, and a strong sense of vitality.
   • Specific examples include:
     • "The Assumption of The Virgin" by Andrea Mantegna.
     • "The Old Shepherd" by Andrea Mantegna.
     • "The Madonna and Child Enthroned with Angels and Saints" by Paolo di Campagna.
     • "The Madonna and Child with Saints" by Giulio Campagnola.

3. Technical Aspects:

   • The article discusses the crystallization of the engraver's technique during this period, noting that many engravers were of secondary rank but produced work of great merit.
   • It highlights the delicate treatment of lines and forms, the shading, and the use of ink and tone to create depth and realism.

4. Exhibition Context:

   • The exhibition is described as being exceptionally well-arranged, with a complete catalogue issued by the Fogg Art Museum.
   • The article emphasizes the educational value of the exhibition, noting that it is a valuable resource for students and art lovers.
   • It also mentions that the exhibition will remain open to view until December 8, 1918.

5. Visual Elements:

   • The page includes a small illustration of an engraving, likely one of the works on display, showing a detailed and delicate composition.
   • The layout features a header with the publication name, date, and section ("Art Briefs"), along with a decorative border.

Additional Notes:

• The article also references a New York Times article from November 7, 1918, which discusses the Print Exhibition at the Fogg Museum, further contextualizing the event.
• The tone of the article is informative and appreciative, highlighting the historical and artistic importance of the engravings and the exhibition itself.

Overall, the image captures a historical moment in the appreciation of early Italian engraving, showcasing the rich artistic heritage of the quattrocento period and the efforts to preserve and display these works for public appreciation.

The image shows two old newspaper clippings mounted on a brown backing. The left clipping is a feature article headlined “Early Italian Engravings in Notable Show,” describing a loan exhibition of early Italian engravings at the Fogg Museum in Cambridge and noting the rarity and variety of prints from different periods. The right clipping is a smaller “Art Briefs” item about a print exhibition at the Fogg Museum, with a similar theme of a special loan exhibition of Italian engravings. At the very top, there are handwritten labels with dates (Christian Science Monitor Nov. 9, 1915 and New York Times Nov. 7, 1915). The pages are aged, with yellowed paper and irregular edges, and the layout features old-style serif typography and columned text.

This image shows an aged newspaper clipping on a light background. The article outlines an exhibition of early Italian engravings at Harvard University's Fogg Museum. The headline at the top reads, "EARLY ITALIAN ENGRAVINGS IN NOTABLE SHOW." Below it, there is a subheading: "Display at Fogg Museum, Cambridge, Contains Rare Prints Typical of Various Periods—Loans From Other Collections."

The article is formatted into columns, detailing the exhibition content, historical context, and notable engravings and artists. Handwritten notes on the clipping indicate the source and date: "Christian Science Monitor Nov. 9, 1915," and "New York Times Nov. 7, 1915."

At the bottom right, there's a smaller section titled "Art Briefs," summarizing the exhibition and its contributors. The clipping appears fragile, with worn edges and a yellowed appearance indicative of its age.

This image displays a newspaper clipping showing an article from the "Christian Science Monitor" dated November 9, 1944. The main article is titled "EARLY ITALIAN ENGRAVINGS IN NOTABLE SHOW" and discusses a display at Fogg Museum, Cambridge, containing rare prints typical of various periods. It includes mentions of other collections and discusses the significance of Italian engravings from certain historical periods while referencing certain pieces and artists.

To the right, there's a smaller section titled "ART BRIEFS," containing a smaller article regarding a special loan exhibition of early Italian engravings at Harvard University's Fogg Art Museum to open on December 6, 1944. The article mentions that the exhibition was arranged by Paul J. Sachs and includes various details about the origins and significance of the pieces to be displayed.

The clipping is aged, with yellowing paper and some discoloration that suggests it has been preserved for some time. It seems to have been cut out fairly neatly on the right edge but is more irregular at the top and left edges. Some handwritten notes appear at the top right corner, likely annotations made by a previous owner of the clipping.

The image depicts a newspaper clipping with reviews and articles about an exhibition of early Italian engravings at the Fogg Museum in Cambridge. The clipping includes write-ups presumably from the Christian Science Monitor (dated November 9, 1915) and the New York Times (dated November 7, 1915), as noted at the top margins of the paper. The articles discuss various aspects of the exhibition, including the types of engravings displayed, the artists featured, and the significance of the prints. The text is dense with historical details and critiques about specific works and their artistic relevance. There is an additional short piece titled "Art Briefs," which seems to offer a concise summary of the exhibition and highlights some notable items. The overall condition of the clipping appears aged, with noticeable yellowing and wear around the edges.