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The image displays a newspaper article with the headline "MUSEUMS" and a subheading that reads "Fogg’s Find." The article discusses the discovery of what may be a Rembrandt sketch, initially found at a bargain price of $4,448 at a public auction. The sketch, a 17th-century oil on panel, was acquired by Seymour Slive, Chairman of Harvard’s Fine Arts Department, who recognized its potential despite its unremarkable first appearance.

The article describes the sketch as a "Head of Christ," noting the tender and compelling expression in the eyes. After closer inspection by experts, including Jakob Rosenberg, the sketch was authenticated as a Rembrandt, with an estimated value of $400,000. The purchase was made possible with funds from Boston businessman William A. Coolidge, and the sketch is set to enter the Fogg collection at a relatively modest price.

The article also mentions a forthcoming book by Professor Rosenberg on Rembrandt, which will include about 200 drawings by the master. Additionally, the Fogg Museum is preparing to publish a complete catalog of its Rembrandt collection, with the help of former staff members and a grant from the National Endowment for the Arts.

The image of the sketch, labeled "HEAD OF CHRIST," is included in the article, emphasizing its significance as the latest acquisition.

The image displays a collage of several newspaper clippings and a magazine article related to the acquisition of an artwork by the Harvard Fogg Art Museum.

1. Top Clipping:

   • The headline reads "Fogg's Find."
   • It discusses a significant Rembrandt painting auctioned at public auction, highlighting the high bid for a painting that was previously in a private collection.
   • The article mentions that the painting, a 17th-century oil sketch titled "The Head of Christ," was found to be a valuable piece after a detailed examination by experts.
   • It notes that the painting was bought by Harvard's Fogg Art Museum, with the purchase price being over $400,000.

2. Middle Clipping:

   • This part of the collage includes a snippet of the same article or another related article.
   • The text briefly describes the sketch and its significance, emphasizing the expertise of museum curators in recognizing and authenticating the artwork.

3. Inset Image:

   • There is a black-and-white photograph of the artwork "Head of Christ" by Rembrandt, prominently displayed in the middle of one of the newspaper clippings.
   • The caption under the photograph reads "The sketch looked compellingly Rembrandt."

4. Bottom Clipping:

   • This section includes a more detailed background story, mentioning the history and provenance of the artwork.
   • It notes the involvement of Fogg Art Museum staff and scholars, including Jakob Rosenberg, who worked on the project.
   • It also mentions that the sketch was part of a broader collection that includes other notable works and was purchased at a modest price of $36,000.

Overall, the collage highlights the acquisition of a significant piece of artwork by Harvard’s Fogg Art Museum and the meticulous efforts undertaken to authenticate and acquire it.

The image is a collage of newspaper clippings and a photograph related to the acquisition of a sketch by Rembrandt. Here's a detailed summary:

1. Main Article (Center):

   • The headline reads "MUSEUMS: Fogg's Find."
   • The article discusses the discovery of a previously unknown Rembrandt sketch titled "Head of Christ."
   • Seymour Slive, a renowned expert and former chairman of Harvard's Fine Arts Department, identified the sketch during a holiday trip to Los Angeles. The sketch was found at a bargain price of $4,444.
   • The sketch was initially thought to be a 17th-century oil sketch by an unknown artist but was authenticated by Slive and other experts, including Jakob Rosenberg, as a work by Rembrandt.
   • The sketch is valued at $400,000 and was purchased by the Fogg Art Museum with funding from William A. Coolidge.
   • The article mentions the sketch's depiction of Christ with a "death's head" look, and the tender yet inward eyes.
   • The sketch is part of the Fogg Museum's collection, which includes around 90 drawings by Rembrandt.

2. Smaller Articles (Top and Bottom):

   • The top clipping includes a partial article mentioning a painting by Rubens and other news snippets related to art exhibitions and acquisitions.
   • The bottom clipping mentions the Fogg Art Museum's acquisition of a Dutch painting by Poussin and other related art news.

3. Photograph (Bottom):

   • The photograph below the main article shows a black-and-white image of the sketch titled "Head of Christ," depicting a face with a contemplative expression.

4. Additional Details:

   • The clippings are dated and seem to be from a newspaper publication.
   • The page number "94" is visible at the bottom of the main article.

This collage captures the excitement and significance of the Fogg Art Museum's acquisition of the Rembrandt sketch, highlighting the efforts of experts in identifying and authenticating the work.

The image is an article from a publication, detailing the discovery and acquisition of a previously unknown sketch by the famous Dutch artist Rembrandt van Rijn by the Fogg Art Museum at Harvard University.

Key Points of the Article:

Title and Subheading:

• Title: Museums
• Subheading: A Fogg's Find

Main Story:

• A major Rembrandt sketch, specifically a depiction of the head of Christ, has surfaced unexpectedly.
• The drawing was brought to the museum for evaluation by Seymour Slive, a preeminent Rembrandt scholar and the recently retired director of Harvard's Fine Arts department.
• Initially, the sketch was casually shown to Slive in the museum's basement, where it was stored among other works.

Description and Initial Reaction:

• The sketch was unsigned and had been kept in an unglamorous setting.
• Upon seeing it, Slive was struck by the lifelike quality of the face, which appeared almost like a death mask, yet the eyes seemed to look inward and outward simultaneously.

Discovery Background:

• The owner, Walter Hawkes, had inherited the sketch from his wife’s family.
• Hawkes had taken it on a camping trip with his family, where it was admired for its beauty by his wife and children.
• The family decided to seek an expert opinion and brought it to Slive.

Authentication Process:

• Slive sent the sketch to various experts and colleagues for closer inspection.
• Jakob Rosenberg, another prominent Rembrandt scholar, and others agreed on its authenticity.
• The consensus among leading Dutch Rembrandt scholars confirmed the drawing's authenticity.
• William W. Robinson, the Fogg Museum’s curator of drawings, noted that the sketch was a significant find, likely produced during a prolific period of Rembrandt’s career.

Provenance and Purchase:

• The Fogg Museum acquired the sketch for a relatively modest price of $36,000.
• The article mentions that the sketch will be part of an upcoming exhibit at the Fogg.
• The drawing joins nine other preparatory sketches and examples from the "Baroque Neapolitan Commandery" by Rubens, adding to the museum's significant collection of works by the Dutch master.

Visuals:

• The article includes a photograph of the sketch, titled "HEAD OF CHRIST," with a caption noting its compelling quality.

Conclusion:

The article highlights a significant acquisition by the Fogg Art Museum, detailing the journey of the Rembrandt sketch from obscurity to recognition as a valuable piece of art. It underscores the importance of expert authentication and the thrill of discovering lost works by renowned artists.

The image features a collage of newspaper clippings and a photograph related to the acquisition of a sketch by Rembrandt for the Fogg Art Museum.

1. Main Article Clipping:

   • Title: "Fogg's Find"
   • Content: The article discusses the acquisition of a sketch by Rembrandt, titled "Head of Christ," which was purchased by the Fogg Art Museum. Seymour Slive, then Chairman of Harvard’s Fine Arts Department, was on a holiday in Los Angeles when he saw the sketch, which was initially attributed to a 17th-century artist. Slive recognized the sketch as a Rembrandt and had it authenticated by colleagues, including Jakob Rosenberg.
   • Details: The sketch was evaluated at $400,000, and Harvard's Fogg Museum agreed to finance the purchase. The museum acquired it for a modest $36,000, making it the first Rembrandt to enter their collection. The sketch was described as having a compelling resemblance to Rembrandt’s style, with a detailed and haunting depiction of Christ's head.
   • Context: The article mentions the sketch's possible provenance and the process of verifying its authenticity.

2. Portfolio or Newspaper Page:

   • Photograph: There is a black-and-white photograph of the sketch titled "HEAD OF CHRIST" by Rembrandt, prominently displayed below the main article text.

3. Additional Clippings:

   • Left Side: A partially visible clipping includes a list of notable events and possibly other articles related to art and museums, though the text is not entirely legible.
   • Right Side: Another clipping discusses the work of a former staff member, Professor Rosenberg, who worked extensively on the Rembrandt collection. It mentions Rosenberg's contributions to the Harvard Art Museums and his role in identifying and authenticating the Rembrandt sketch.

4. Page Number:

   • The page number at the bottom is "94."

Overall, the image documents the significant acquisition of a Rembrandt sketch by the Fogg Art Museum, highlighting the process of its discovery, authentication, and purchase.

The image is a collection of newspaper clippings related to the discovery and acquisition of a Rembrandt sketch titled "Head of Christ" by the Fogg Art Museum at Harvard University. Here's a detailed summary:

1. Discovery of the Sketch:

   • The sketch was discovered by Seymour Slive, Harvard's Fine Arts Chairman, during a holiday in Los Angeles. He noticed the unsigned 17th-century sketch at the Paul Kantor Gallery.
   • The sketch, titled "Head of Christ," initially seemed unforgettable but later proved compelling. The face in the sketch looks almost like a death's head, with the right side tender and the eyes looking inward.

2. Verification and Authentication:

   • Slive consulted colleagues, including Jakob Rosenberg, who scrutinized the sketch and agreed on its authenticity.
   • The sketch was taken to the Rijksmuseum in Amsterdam for further examination, where experts confirmed its authenticity.
   • The purchase price was negotiated to $400,000, with the Fogg Museum acquiring it for $344,445.

3. Acquisition and Significance:

   • The Fogg Art Museum announced its newest acquisition, highlighting that it is the first and only Rembrandt oil painting to enter the collection.
   • The purchase was financed by William A. Coolidge and announced by Perry Rathbone, the museum director.

4. Exhibition and Collection:

   • The sketch will be part of a forthcoming collection that includes about nine drawings, such as "The Mock Execution of a Young Man" by Rubens and "Family" by Poussin.
   • The museum staff, including Jakob Rosenberg and Seymour Slive, contributed to the acquisition and study of the sketch.

5. Additional Information:

   • The sketch is described as looking compellingly like Rembrandt's work.
   • The image includes a photograph of the "Head of Christ" sketch, showcasing its intricate details.

Overall, the clippings highlight the excitement and significance of acquiring a rare and authentic Rembrandt sketch for the Fogg Art Museum.

This image contains a collage of newspaper or magazine clippings primarily discussing museums, with an emphasis on a specific finding related to the Fogg Art Museum. The text references an acquisition by the museum and mentions details about a particular piece of art, its evaluation, the involvement of experts and scholars, and the purchase price. Excerpts from the clippings also refer to the work of Rembrandt and other artists, and the movement of the artwork. The bottom clipping features a caption related to a sketch that appears significant, while the rest of the document provides context around the discovery and valuation of this artwork.

The image shows a newspaper clipping from a section titled "MUSEUMS," with an article headlined "Fogg’s Find." The article discusses the discovery and acquisition of an unsigned 17th-century oil sketch, "The Head of Christ," by Harvard's Fogg Art Museum. It describes the story of Seymour Slive, Harvard's Fine Arts Chairman, who unexpectedly obtained the sketch during a trip to Los Angeles. The article details Slive's excitement and the high valuation of the painting, which was authenticated by six leading Dutch Rembrandt scholars.

Below the text, there is a small black-and-white photograph of the sketch, which is labeled "HEAD OF CHRIST" with a caption below it stating, "The sketch looked compellingly Rembrandt." The bottom of the clipping is marked with the page number 94. The clipping has slightly yellowed with age and is taped onto a plain gray background. There are additional small pieces of torn, yellowed paper with text visible around the edges.

The image is a collage of newspaper clippings and articles, primarily focusing on the acquisition of a Rembrandt sketch by the Fogg Art Museum at Harvard University. The sketch, titled "Head of Christ," was purchased for $36,000, a modest price for such a significant artwork. The articles describe the sketch's discovery, its condition, and the circumstances surrounding its acquisition. The sketch was found in a bag by a man named William A. Coolidge, who agreed to donate it to the Fogg Museum. The articles also mention that the sketch was evaluated by experts who confirmed its authenticity and estimated its value at a much higher price. The collage includes various pieces of paper with different fonts and layouts, creating a fragmented and layered visual effect.

The image shows a page from a book or publication titled "The Fogg Museum", focusing on the acquisition of a Rembrandt sketch by the Fogg Art Museum. The page is numbered 94 and includes both text and a small illustration.

Text Content:

The text discusses the discovery and acquisition of a Rembrandt sketch known as "Head of Christ". Key points from the text include:

1. Discovery and Value:

   • The sketch was found at a public auction with a major Rembrandt work, initially priced at $4,448 per square inch.
   • It was described as an eighth power of a googelplex, indicating its exceptional rarity and value.

2. Authenticity and Evaluation:

   • Harvard's Fine Arts Chairman, Seymour Slive, identified the sketch as an authentic Rembrandt.
   • Experts valued the sketch at $400,000, confirming its authenticity and significance.

3. Negotiation and Purchase:

   • Slive, on a holiday in Los Angeles, was shown the sketch at the Paul Kantor Gallery.
   • He described the sketch as "the left side of the face yet right side like a death's head. The eyes looked out and yet inward."
   • Slive negotiated with Jakob Rosenberg, the owner, and secured the sketch for $36,000, which was considered a modest price at the time.

4. Historical Context:

   • The sketch was part of a larger collection that included nine drawings by Rembrandt, including works such as The Neptune Command and The Family by Poussin.
   • The acquisition marked the first Rembrandt oil sketch to enter the Fogg Museum's collection.

5. Scholarly Consensus:

   • Six leading Dutch Rembrandt scholars confirmed the authenticity of the sketch.
   • Boston businessman William A. Coolidge agreed to finance the purchase.

Illustration:

At the bottom of the page, there is a small black-and-white illustration labeled "HEAD OF CHRIST". The illustration depicts a sketch of a head, presumably the Rembrandt sketch in question. The caption below the illustration reads: "The sketch looked compellingly Rembrandt."

Overall Context:

The page highlights the significance of the Fogg Museum's acquisition of this Rembrandt sketch, emphasizing its historical importance, the process of authentication, and the negotiation that led to its inclusion in the museum's collection. The text and illustration work together to convey the story of this notable addition to the museum's holdings.