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The image shows a yellowed newspaper article titled "Art World Here Cool to Doubts On Rembrandts." The headline suggests that the art world in New York is dismissive of doubts cast on the authenticity of some Rembrandt paintings. The article reports on a lecture by Dr. Maximilian Toch at the American Museum in which he claimed that only about twenty-nine out of thirty paintings attributed to Rembrandt in the Metropolitan Museum of Art are likely genuine. Dr. Toch, a chemist, used scientific methods to back his assertions.

The article includes a response from C. R. Henschke, head of Knoedler & Co., who dismisses Dr. Toch's claims, stating that the art world is not taking the critique seriously. Henschke points out that Dr. Toch's criticism is directed at the scholarship of John C. Van Dyke, an art expert who published a book on Rembrandt. Henschke also notes that many paintings sold as Rembrandts were not claimed to be entirely his work, sometimes being attributed to his pupils.

The article is accompanied by a photograph of Dr. Maximilian Toch examining a painting, with a caption identifying him and noting that the photo is from the Acme newspaper photo service.

The article is dated March 2, 1931, as handwritten at the top.

The image is a newspaper clipping from March 2nd, 1951, detailing a controversy within the art world regarding the authenticity of Rembrandt paintings.

Here are the key points from the article:

1. Main Headline: "Art World Here Cool to Doubts On Rembrandts"

   • The article discusses skepticism and debate within the art community about the authenticity of certain paintings attributed to Rembrandt.

2. Statement by C. R. Henschel:

   • C.R. Henschel, the head of Knoedler & Co., a prominent New York gallery, declared that the attacks on the authenticity of Rembrandt paintings should not be taken seriously.

3. Dr. Maximilian Toch’s Lecture:

   • Dr. Maximilian Toch presented a lecture at the American Museum of Natural History. He claimed that out of the 30 paintings in the Metropolitan Museum of Art attributed to Rembrandt, only one might be genuine.

4. Criticism and Response:

   • Dr. Toch’s statements were met with criticism from other experts, including John C. Van Dyke from Rutgers University, who argued that many celebrated paintings, such as "Old Woman Cutting Her Hair" by Rembrandt, were indeed genuine works by the Dutch master.
   • Van Dyke contended that Dr. Toch’s methods were not scientific enough and that his conclusions were based on an overly narrow approach.

5. Dr. Toch’s Background and Methods:

   • Dr. Toch is noted for his expertise in chemistry and art conservation, having a degree from Columbia University and being a professor at Cooper Union and the National Academy of Design.
   • He employs modern scientific techniques like X-ray and microscopic photography to analyze and authenticate artworks.

6. Commentary and Context:

   • The article discusses the debate, mentioning that while some experts agree with Dr. Toch's findings, others like Van Dyke and Henschel strongly disagree, emphasizing the importance of traditional art expertise and the history of attribution.

The newspaper piece reflects a broader discussion on the methods and credibility of modern scientific techniques in verifying the authenticity of historical artworks.

The image is a newspaper clipping from the New York section dated March 22, 1951. The headline reads, "Art World Here Cool to Doubts On Rembrandts," and it discusses a lecture by Dr. Maximilian Toch on the authenticity of Rembrandt paintings.

The article states that Dr. Toch claimed that 29 out of 30 paintings attributed to Rembrandt in the Metropolitan Museum of Art were likely not his work. He used scientific methods, including X-ray and microscopic photography, to support his claims. Dr. Toch’s findings were met with skepticism by the art world, including C. R. Henschel, head of Knoedler & Co., who suggested that Dr. Toch's assertions were not taken seriously.

The article also mentions a book by John C. Van Dyke, who criticized some of the paintings Dr. Toch questioned. Dr. Van Dyke's work was seen as an attack on the tradition of Rembrandt attribution. The article notes that Dr. Toch's methods and conclusions were questioned by other art experts, and he was not invited to comment further by the art community.

Additionally, the newspaper provides a brief biography of Dr. Toch, highlighting his background in chemistry and his expertise in paint analysis. He was a professor at Columbia University and Cooper Union, and a member of the National Academy of Design. The clipping includes a photo of Dr. Toch examining a painting under a microscope.

The image is a newspaper clipping from the New York-based publication "NY Herald" dated March 2, 1931. The main headline reads, "Art World Here Cool to Doubts On Rembrandts," and the subheadlines indicate a controversy surrounding the authenticity of paintings attributed to the famous Dutch artist Rembrandt.

The article discusses a lecture by Dr. Maximilian Toch, who suggested that about twenty-nine out of thirty paintings in the Metropolitan Museum of Art attributed to Rembrandt might not be genuine. Specifically, Toch believed only one painting, a portrait of Rembrandt's mother, was authentic.

C. R. Henschel, the head of a gallery, strongly disagreed with Toch's assessment, stating that the art world should take such claims seriously only if they come from recognized experts. Henschel cited criticism from Dr. John C. Van Dyke of Rutgers University, who had previously questioned the authenticity of many celebrated paintings, including those attributed to Rembrandt.

Van Dyke, while critical, did not outright dismiss the Rembrandt works as forgeries but rather suggested that many of the paintings were from Rembrandt’s school rather than by the master himself.

The article also provides background on Dr. Toch, noting his expertise in paint manufacturing and chemistry, and mentions that he had agreed to collaborate with Van Dyke on further scientific analysis using X-ray and microscopic photography to examine the paintings.

A photograph of Dr. Maximilian Toch examining a painting accompanies the article.

The image is a newspaper clipping from the New York area, dated March 22, 1931. The headline reads "Art World Here Cool to Doubts On Rembrandts," with a subheading "Wouldn't Take Toch Attack on Authenticity Seriously, Declares C. R. Henschel."

The article discusses a lecture by Dr. Maximilian Toch, who claimed that twenty-nine out of thirty paintings attributed to Rembrandt in the Metropolitan Museum of Art were not genuine. Dr. Toch believed that only about one-third of the paintings attributed to Rembrandt were actually his work.

C. R. Henschel, head of the Knoedler & Co. gallery, dismissed Toch's claims, stating that they should not be taken seriously. He pointed out that Dr. Toch had not personally examined the paintings and that he was a paint expert, not an art historian.

Dr. John C. Van Dyke of Rutgers University also criticized Toch's assertions, calling them an attack on tradition. Van Dyke argued that many celebrated paintings attributed to Rembrandt were genuine and that Toch’s claims were not widely accepted by experts.

The article also mentions that Dr. Toch is a paint manufacturer and chemist, and he used X-ray and microscopic photography to support his claims. Other art experts were reluctant to comment on Toch’s findings.

The clipping includes a photograph of Dr. Maximilian Toch examining a painting under a microscope, with a caption indicating that he was testing old masters under a microscope.

The image is a newspaper clipping from the New York Times, dated March 22, 1931. The headline reads "Art World Here Cool to Doubts on Rembrandts." The article discusses a controversy surrounding the authenticity of Rembrandt paintings at the Metropolitan Museum of Art. Dr. Maximilian Toch, a paint expert, claimed that many of the paintings attributed to Rembrandt were actually the work of other artists.

Key points from the article include:

1. Dr. Toch's Claims: Dr. Toch presented his findings at the American Museum of Natural History, asserting that twenty-nine out of thirty paintings attributed to Rembrandt were likely not his work.

2. Reaction from the Art World: The art community in New York was reportedly skeptical of Dr. Toch's claims. C.R. Henschel, head of Knoedler & Co., dismissed the findings, stating that experts should not take such claims seriously.

3. Criticism of Van Dyke: The gallery head also criticized Professor John C. Van Dyke of Rutgers University, who had previously raised doubts about the authenticity of some Rembrandt paintings.

4. Defense of Tradition: The article notes that the Metropolitan Museum's paintings were considered genuine based on tradition and expert consensus. Van Dyke's book was seen as an attack on this tradition.

5. Expert Opinions: Other art experts refused to comment on Dr. Toch's claims, citing his lack of credentials in art history and connoisseurship. Dr. Toch defended his work, stating that it was based on scientific analysis, including microscopic and ultraviolet photography.

The accompanying photograph shows Dr. Maximilian Toch examining a painting under a microscope, highlighting the scientific approach he used in his analysis.

The image is a newspaper clipping from the New York Herald Tribune dated March 2nd, 1931. The article is titled "Art World Here Cool to Doubts On Rembrandts" and discusses skepticism in the art community regarding the authenticity of paintings attributed to Rembrandt. The image accompanying the article shows Dr. Maximilian Toch examining a painting under a microscope. Dr. Toch appears focused on the detailed examination of the artwork, using scientific methods to ascertain its authenticity. The article includes multiple viewpoints, mentioning figures such as C.R. Henschel and Van Dyke and presenting differing opinions about the validity of Dr. Toch's conclusions on Rembrandt's works.

The image features a vintage newspaper clipping. The article headline reads "Art World Here Cool to Doubts On Rembrandts" and is from a section titled "Testing Old Masters Under a Microscope." The article suggests that there was skepticism in the art world about the authenticity of some Rembrandt paintings, with names such as C. R. Henshel and Van Dyke mentioned in the context of the controversy. The article appears to be from the New York Herald Tribune, dated "March 2nd, 1935." There is also mention of the Metropolitan Museum of Other Art Experts in the text, indicating a connection to authoritative figures in the art world. The layout of the newspaper clippings adds a historical ambiance, which could be interesting to those fascinated by art history and the provenance of masterpieces.

The image is a photograph of an old newspaper clipping titled "Art World Here Cool to Doubts On Rembrandts." The headline is followed by a subheading: "'Wouldn't Take Tech Attack on Authenticity Seriously,' Declares C. R. Henschel," and mentions criticism from Van Dyke and a gallery head calling Metropolitan paintings self-evidence.

The article discusses skepticism in New York's art world about Dr. Maximilian Toch's statement regarding the authenticity of paintings attributed to Rembrandt, suggesting only about 30 out of 800 pictures attributed to Rembrandt are genuinely his work. C. R. Henschel, head of Knoedler & Co., doesn't take the tech attack seriously. The article also touches on differing opinions about Rembrandt's paintings and mentions other experts who refused to comment.

At the top right of the clipping, there is a photograph captioned "Testing Old Masters Under a Microscope," showing Dr. Maximilian Toch examining a painting under a microscope. He is an older man with white hair and a mustache, dressed in a suit. His name and action are noted below the photograph.

The clipping is dated March 2nd, 1931, written by hand at the top. The source appears to be the New York Tribune. The newspaper is yellowed with age and has rough edges, especially on the right and bottom sides where parts of the clipping are torn off.

The image is a scanned newspaper clipping from the New York Tribune, dated March 2, 1931. The article is titled "Art World Here Cool to Doubts On Rembrandts" and discusses a controversy surrounding the authenticity of Rembrandt paintings. The headline also mentions "Testing Old Masters Under a Microscope", indicating the use of scientific methods to examine the artworks.

Key Details from the Article:

1. Main Story:

   • The article reports on a lecture by Dr. Maximilian Toch at the American Museum of Natural History, where he questioned the authenticity of 29 out of 30 paintings attributed to Rembrandt in the Metropolitan Museum of Art.
   • Dr. Toch believes that only about thirty of the approximately 800 paintings attributed to Rembrandt are genuinely his work.
   • Dr. C. R. Henschel, head of Knoedler & Co., dismisses Dr. Toch's claims, stating that the art world would not take such doubts seriously.

2. Van Dyke's Criticism:

   • The article references Professor John C. Van Dyke of Rutgers University, who criticized Rembrandt's work in a book published eight years prior. Van Dyke argued that many celebrated Rembrandt paintings, including "The Old Woman Cutting Her Fingernail," were actually the work of Rembrandt's pupils.
   • Dr. Henschel views Van Dyke's critique as an attack on tradition rather than a scientific assessment.

3. Dr. Toch's Expertise:

   • Dr. Toch is described as a paint expert and a professor of the chemistry of artistic painting at Columbia University and the National Academy of Design.
   • He has a background in pure, unadulterated science and has used X-ray and microscopic photographs in his studies. His work has been cited by experts such as Laurie of Edinburgh, Eidner of Munich, and De Wildt of The Hague.

4. Visual Element:

   • The right side of the clipping features a photograph of Dr. Maximilian Toch examining a painting through a microscope. The caption below the photo reads: "Dr. Maximilian Toch examining a painting."
   • The photograph shows Dr. Toch in a focused posture, using a microscope to analyze the artwork, emphasizing the scientific approach to art authentication.

Overall Context:

The article highlights a debate in the art world regarding the authenticity of Rembrandt's works, with Dr. Toch's scientific methods challenging traditional attributions. The inclusion of Van Dyke's earlier criticisms adds depth to the discussion, framing the controversy as both a scientific and artistic debate. The visual of Dr. Toch using a microscope underscores the article's theme of examining old masters under scientific scrutiny.