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ARCH.2003.23, Rendition: 795225
The image shows a scanned page from a book or a collection of clippings, dated Tuesday, August 3, 1926. The page is from "The Reliable Press Clipping Bureau" by Albert Romeike & Co., located at 26 Warren Street, New York City. The content of the page appears to be a collection of articles or excerpts related to the use of X-rays to study and authenticate paintings, particularly focusing on the work of Alan Burroughs of the Fogg Museum, Harvard University, who was involved in X-raying masterpieces at the Louvre and Berlin Museum.
The articles discuss how X-rays can help detect forgeries and uncover the techniques of famous artists like Raphael, Velasquez, Rembrandt, da Vinci, Titian, and Rubens. The text mentions the use of X-rays to reveal underpainting and preliminary work done by the artists, which is not visible to the naked eye, providing a insight into the artists' approach to their work. The articles also mention the value of X-rays in distinguishing between authentic works and forgeries, as well as the potential challenges in authenticating paintings by artists who worked with many pupils, as in the case of Rubens.
The text is printed in a serif font, and the page shows some signs of wear and aging, indicating that it is likely an old clipping from a newspaper or magazine. The overall tone of the page is informative and educational, aimed at musicians and art lovers who were interested in the development of art authentication techniques during the early 20th century.
This image shows an open book or scrapbook containing an article and a clipping. The article, titled "TO PUT OLD MASTERS BENEATH THE X-RAY," is from the New York Times, dated Saturday, July 31, 1926. It discusses the use of X-rays to detect forgeries in paintings by old masters. The article mentions that an expert from the Fogg Museum at Harvard University will travel to Europe to X-ray paintings at the Louvre and Berlin Museum.
The clipping, from the Reliable Press Clipping Bureau, is dated Tuesday, August 3, 1926, and is titled "Science's Aid to Art." It elaborates on how X-rays can reveal the artist's preliminary strokes and underpainting, helping to determine the authenticity of paintings. The clipping also mentions the work of Alan Burroughs at the Fogg Museum and the use of X-rays to detect forgeries in famous paintings.
The pages of the book appear aged, with a yellowish tint, indicating it is an old document. The article and clipping are neatly pasted onto the pages.
This image displays an open, vintage scrapbook or clipping album containing two yellowed newspaper articles from Tuesday, August 3, 1926. The pages are aged, with visible foxing and slight browning, bound in what appears to be a cloth or leather cover with a fabric reinforcement visible along the top edge.
The content of the clippings revolves around a groundbreaking application of X-ray technology in art authentication.
The article on the left, from the New York Times, is headlined:
“TO PUT OLD MASTERS BENEATH THE X-RAY”
It reports that Dr. Alan Burroughs of the Fogg Museum, Harvard University, was preparing to travel to Europe — specifically to the Louvre in Paris and the Berlin Museum — to photograph 200 canvases by renowned Old Masters including Raphael, Titian, Rubens, Rembrandt, da Vinci, Velázquez, and Correggio.
The goal was to use X-rays to detect underpainting, repainting, or other alterations, thereby establishing the authenticity of these works and potentially uncovering forgeries. The article emphasizes that X-rays can reveal the artist’s preliminary strokes and changes made during the painting process — invisible to the naked eye — providing a definitive way to “settle the authenticity of a painting.” It also mentions that Dr. Burroughs and his wife, Molly, would be accompanied by a French painter, Mrs. Lucy, and notes that the technique would be particularly useful for paintings by Rubens.
The article on the right, sourced from “The Reliable Press Clipping Bureau” (Albert Romeline & Co., 20 Warren Street, New York City), reiterates much of the same information under the headline:
“Science’s Aid to Art.”
It states that after years of interplay between art and science, the X-ray’s greatest value is now in verifying the authenticity of artworks by revealing the “preliminary strokes done by the painter before he completes the surface.” The clipping notes that Dr. Burroughs had already taken over 200 X-ray photographs of paintings at the Louvre and Berlin for this purpose.
Both articles underscore the excitement of this scientific method, suggesting it was a reliable, objective tool that could finally put an end to disputes over art forgery by giving a “true record of the work,” even revealing “mistakes and blemishes” of the master.
In summary, this image captures a historical moment in 1926 when science, specifically X-ray radiography, was first being systematically applied to art history and conservation — revolutionizing how experts detected forgeries and understood the creative process of the Old Masters. The clipping album itself is a tangible artifact of early 20th-century interest in this fusion of technology and culture.
The image shows an open book with newspaper clippings inside. The clippings are from the New York Times and date back to 1926. The clippings discuss the use of X-rays to detect forgeries and underpainting in old paintings. One clipping mentions how X-rays can reveal the preliminary work done by the painter before the final painting is completed. Another clipping discusses how X-rays can help determine the authenticity of paintings by comparing them to other works by the same artist. The clippings provide information on how X-rays are used in art conservation and authentication.
The image shows a book that is opened to two pages with text on them. The book is placed on a white surface, and the pages are slightly curled at the edges. The text on the pages is in black font and appears to be an article or a report. The text is organized into paragraphs, with headings and subheadings. The book appears to be a professional publication, possibly a scientific or academic journal. The pages are filled with text, and there are no images or graphics on the pages. The book's title and author are not visible in the image.
The image depicts an open book or scrapbook containing a collection of newspaper clippings, dated and organized. The visible pages are from the New York Times, with articles from Tuesday, August 3, 1926, as indicated by a handwritten note on the right page. The clippings appear to be part of a scrapbook titled "The Reliable Press Clipping Bureau", attributed to Albert Romeike & Co., located at 26 Warren Street, New York City.
Left Page:
Right Page:
The clippings reflect the growing interest in the early 20th century in using scientific methods, such as X-ray technology, to study and authenticate art. This was a period when museums and scholars were increasingly turning to technology to solve mysteries in art history, particularly in identifying forgeries and understanding the techniques of old masters. The articles highlight the pioneering work of individuals like Alan Burroughs and institutions like the Fogg Museum in advancing this field.
Overall, the image captures a historical moment in the intersection of art and science, showcasing how technology was being applied to preserve and understand cultural heritage.
This image shows a page from a scrapbook or similar compilation, featuring two newspaper clippings related to art and science. Key highlights include:
Two distinct articles on the page:
Topics Discussed:
Scrapbook Context:
The aged, yellowed appearance of the page and old-fashioned typesetting reflect the historical nature of the content.
The image is a photograph of an open paper book or scrapbook. On the right-hand page, there's a yellowed newspaper clipping pasted onto the page. It is titled "NEW YORK CITY Tuesday, AUG 3 - 1926" with a subheadline "Science's Aid to Art." The article discusses how after three years that have interested 'all the Art reaches that flutter blood and senses' but a humble atom to the development of the theme. It goes on to discuss how Selden will compare important beauty to the protection of paintings that for centuries have held the admiration of the world.
On the left-hand page, another larger article is pasted, titled "TO PUT OLD MASTERS BENEATH THE X-RAY." This piece appears to be from "The New York Times," dated "Saturday—July 3, '26." It details how a Harvard expert intends to photograph 200 canvases in the Louvre and at Berlin, using X-ray equipment to determine the legitimacy of old master paintings and uncover forgeries. The process described includes exposing underlying patterns and underpaintings not visible to the naked eye. It is an early example of using technology in art conservation and authentication.
Both articles emphasize the intersection of science and art, with technology serving as a tool to deepen our understanding of historic works. The book or scrapbook appears aged, with yellowing pages and evidence of wear indicative of its historical nature.
The image depicts a page from an old scrapbook or album containing newspaper clippings. The clippings are articles related to the use of X-rays to examine old master paintings and the detection of forgeries in artwork. The articles are dated, with one specifically mentioning August 3, 1926, indicating the time period of the content.
The main subjects covered in the clippings include:
The articles provide insights into the methodologies and importance of using scientific techniques to preserve and authenticate historical artwork. The clippings are yellowed with age and are pasted onto the scrapbook page under headings like "To Put Old Masters Beneath The X-Ray" and "Science's Aid to Art."