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The image appears to be a page from a publication titled "Boston Herald" dated Sunday, January 10, 1926. The page contains four images, each in a sepia tone, showcasing the restoration process of a famous painting known as the "Crespi Madonna." The narrative of the page highlights the story of how Harvard salvaged the painting after it was apparently damaged beyond repair in a steamship fire.

• The top-left image depicts the Crespi Madonna as it was received at the Fogg Art Museum in a state of almost complete ruin, the result of a fire in a steamship hold.
• The top-right image shows the picture on the original panel with cloth over its surface.
• The bottom-left image illustrates the part of the picture transferred by Mr. Herbert E. Thompson to an aluminum panel designed by him for preservation of pictures.
• The bottom-right image shows the picture in a further state of transfer to the Thompson panel.

The page is framed with a decorative border, and the text at the top provides context to the images, emphasizing the significance of the restoration effort. The overall presentation suggests this was a detailed report on the art conservation process during the early 20th century.

This image is a page from the Boston Herald, dated Sunday, January 10, 1926. The page features four photographs of a famous Madonna painting, which was severely damaged in a steamship fire and was subsequently restored by the Fogg Art Museum. The photographs depict various stages of the restoration process:

1. The top left photograph shows the Crespi Madonna as it was received at the Fogg Art Museum, in a state of almost complete ruin due to the fire.
2. The top right photograph shows the picture on the original panel with cloth over its surface.
3. The bottom left photograph shows the picture in part transferred by Mr. Herbert E. Thompson to an aluminum panel designed by him for the preservation of pictures.
4. The bottom right photograph shows the picture in a further state of transfer to the Thompson panel.

The images are accompanied by a headline that reads: "How Harvard Salvaged a Famous Madonna. One of the Greatest Romances of Restoration is the Story of the Fogg Art Museum's Rescuing the Crespi Madonna After it Had Been, Apparently, Damaged Beyond Repair in a Steamship Fire."

This image shows a newspaper clipping from the Boston Herald, dated Sunday, January 10, 1926, pasted onto the page of a scrapbook or album. The article is presented in a four-panel photo essay format, with sepia-toned photographs documenting the dramatic rescue and restoration of a damaged painting.

The headline reads:
“HOW HARVARD SALVAGED A FAMOUS MADONNA. ONE OF THE GREATEST ROMANCES OF RESTORATION IS THE STORY OF THE FOGG ART MUSEUM’S RECUING THE CRESPI MADONNA AFTER IT HAD BEEN, APPARENTLY, DAMAGED BEYOND REPAIR IN A STEAMSHIP FIRE.”

The four photos illustrate successive stages of the painting’s recovery:

1. Top Left: “The Crespi Madonna as received at the Fogg Art Museum in a state of almost complete ruin, the result of a fire in a steamship hold.”
   — Shows the painting heavily damaged, with paint flaking, dark charring, and large areas obscured or missing.

2. Top Right: “The picture on the original panel with cloth over its surface.”
   — Depicts the painting being stabilized or prepared for transfer, with a cloth placed over parts of the surface, likely to protect loose paint or assist in the transfer process.

3. Bottom Left: “The picture in part transferred by Mr. Herbert E. Thompson to an aluminum panel designed by him for preservation of pictures.”
   — Shows the painting during the transfer process, with visible sections where the image has been moved to a new, rigid aluminum support.

4. Bottom Right: “The picture in a further state of transfer to the Thompson panel.”
   — Illustrates further progress, with more of the image successfully transferred and the underlying original panel becoming more visible, showing the extent of the damage.

This clipping highlights an early 20th-century art conservation miracle — the salvage of a painting by Giuseppe Maria Crespi (often referred to as “il Crespi”) after it was severely damaged in a fire aboard a cargo ship. The restoration effort at Harvard’s Fogg Art Museum was spearheaded by Mr. Herbert E. Thompson, who developed a specialized technique using an aluminum panel to preserve the fragile painting.

The page itself is yellowed with age, indicating its historical nature, and the scrapbook binding is visible on the left-hand side, with several other similar yellowed pages stacked behind the one on display.

This article celebrates both the artistic value of the painting and the ingenuity of early art conservation techniques.

An open book with a heading "Boston Herald" and "January 10, 1926" is placed on a gray surface. The book contains a picture of a woman with a baby in her hands, and the picture is divided into four sections. The first section shows the woman with a baby in her hands, and the second section shows the woman with a baby on her lap. The third section shows the woman with a baby in her hands, and the fourth section shows the woman with a baby on her lap.

The image shows a page from a newspaper with a headline that reads "Boston Herald, January 10, 1926." The page has four black-and-white photographs of a painting of a woman holding a baby. The photographs are in different stages of restoration, with the first one showing the painting in its original damaged state, and the last one showing it after being repaired. The photographs are accompanied by captions that describe the process of restoring the painting.

The image shows a page from a newspaper or magazine, specifically from the Boston Herald Sunday dated January 10, 1926. The page is titled "HOW HARVARD SALVAGED A FAMOUS MADONNA, ONE OF THE GREATEST ROMANCES OF RESTORATION IS THE STORY OF THE FOGG ART MUSEUM'S RESCUING THE CRESPI MADONNA AFTER IT HAD BEEN APPARENTLY DAMAGED BEYOND REPAIR IN A STEAMSHIP FIRE."

The page features four black-and-white photographs arranged in a grid format, illustrating the restoration process of the Crespi Madonna, a famous artwork. Each photograph is accompanied by a caption that provides context:

1. Top Left:

   • Caption: "The Crespi Madonna as received at the Fogg Art Museum in a state of almost complete ruin, the result of a fire in a steamship hold."
   • Description: This image shows the Madonna in a severely damaged state, with visible signs of fire damage, such as charring and discoloration.

2. Top Right:

   • Caption: "The picture on the original panel with cloth over its surface."
   • Description: This photograph depicts the Madonna still on its original panel, with a protective cloth covering part of the surface, indicating an early stage of preservation.

3. Bottom Left:

   • Caption: "The picture in part transferred by Mr. Herbert E. Thompson to an aluminium panel designed by him for preservation of pictures."
   • Description: This image shows the Madonna partially transferred onto a new aluminum panel, highlighting the restoration efforts by Herbert E. Thompson.

4. Bottom Right:

   • Caption: "The picture in a further state of transfer to the Thompson panel."
   • Description: This photograph illustrates a more advanced stage of the transfer process, with the Madonna nearly fully transferred onto the aluminum panel.

The page provides a visual narrative of the rescue and restoration of the Crespi Madonna, showcasing the condition of the artwork upon arrival, the initial protective measures, and the progressive steps taken to preserve and restore it. The article emphasizes the significance of this restoration effort as a remarkable achievement in art conservation.

The image depicts a yellowed and aged page from a scrapbook or newspaper clipping from the Boston Herald, dated Sunday, January 10, 1926. The title of the article reads, "How Harvard Salvaged a Famous Madonna," and it discusses the restoration of the Crespi Madonna painting by the Fogg Art Museum after it suffered damage in a steamship fire.

The page features four sepia-toned photographs, arranged in two rows, that illustrate different stages of the restoration process. Each image appears severely burned or damaged, with parts of the painting missing or obscured. A few areas have been censored (blurred) for privacy or preservation reasons. The captions under each image provide descriptions:

1. Top left: "The Crespi Madonna as received at the Fogg Art Museum in a state of almost complete ruin, the result of a fire in a steamship hold."
2. Top right: "The picture on the original panel with cloth over its surface."
3. Bottom left: "The picture in part transferred by Mr. Herbert E. Thompson to an aluminum panel designed by him for the preservation of pictures."
4. Bottom right: "The picture in a further state of transfer to the Thompson panel."

The text emphasizes the heroic restoration effort to preserve the artwork despite its near destruction. The entire page is slightly worn, with visible folds and discoloration, indicative of its age.

An old newspaper clipping mounted in a scrapbook. It’s a Boston Herald page dated Sunday, January 10, 1926, featuring a six-image photo sequence about saving and restoring the Crespi Madonna at Harvard’s Fogg Art Museum after a steamship fire. The panels show the damaged painting in ruin, with captions describing the restoration steps—including cloth-covered original panels and transfers of the image to protective aluminum panels designed by Mr. Herbert E. Thompson. The page has yellowed with age and the photos are dark, with some faces or areas obscured.

This image is a photograph of an old newspaper page from the Boston Herald dated Sunday, January 10, 1926. The article discusses how Harvard salvaged a famous artwork known as the Crespi Madonna, which was severely damaged in a steamship fire before being rescued by the Fogg Art Museum.

The page contains a heading and four sepia-toned photographs arranged in a grid. Each photograph depicts different stages in the preservation and restoration process of the damaged Crespi Madonna painting. The images show the painting initially in a state of near ruin, then covered with cloth, followed by parts of the image transferred onto an aluminum panel, and finally in a further state of transfer to the panel.

Captions beneath each photo explain the stages:

1. The first photo shows the Crespi Madonna as received at the Fogg Art Museum after the fire damage.
2. The second photo depicts the original panel with cloth covering its surface.
3. The third shows the picture in part transferred by Mr. Herbert E. Thompson onto an aluminum panel for preservation.
4. The fourth displays the picture in a further stage of transfer to the Thompson panel.

The text at the top highlights the significance of this restoration as one of the greatest romances of art restoration.

This image features a page from the Boston Herald newspaper, dated Sunday, January 10, 1926. The article covers a story about the restoration of a famous Madonna painting that had been damaged. It appears to detail the process of salvaging the artwork after it was apparently damaged beyond repair in a steamship fire.

The images shown on the page illustrate different stages of restoration. Captions under the images mention the transfer of parts of the picture to an aluminum panel designed for preservation. The text also mentions someone named Mr. Herbert E. Thompson, presumably involved in the restoration process.