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This image shows a historical newspaper clipping from the Boston Globe’s “Gazette” section, dated February 13, 1976, preserved on a yellowed, three-hole-punched piece of paper. The clipping is a compilation of three articles and illustrations, all related to art and art conservation, centered around the work of Elizabeth (Betty) Jones.

Main Feature: “IN THIS CORNER — Bettering the best—that’s an art”

Located on the right side, this article by Marvin Pave of the Globe Staff profiles Elizabeth (Betty) Jones, a conservator of painting at the Boston Museum of Fine Arts. The article highlights her expertise in art restoration and her recent work on a slightly damaged 1632 portrait of Elisabeth Van Rijn by Frans Hals (note: the article attributes it to “Rembrandt,” which appears to be an error—this is the famous Hals portrait).

Key points from the article:

• Jones was a native of Woodbury, Connecticut, who realized after WWII that she “just wasn’t cut out” to be a creative painter, so she pursued art restoration instead.
• She studied fine arts at Vassar College and worked in the US Army’s research unit during WWII before becoming involved with the Fogg Museum and ultimately the Boston Museum of Fine Arts.
• She undertook a delicate restoration of the Hals portrait—discovered to have two dents and two smears in the varnish—and was able to repair it using microscopy and varnish removal techniques.
• Jones describes the work as a “miracle” and notes that the restoration process takes months and is one of hundreds of such projects the museum undertakes annually.
• The article also mentions her earlier work photographing and analyzing stone carvings at St. Mark’s Cathedral in Venice.
• Her motivation? “Somebody had to do it,” she says. “They needed help.”

The article includes a small black-and-white photograph of Elizabeth Jones, wearing glasses and looking thoughtfully at a painting, with a caption reading: “ELIZABETH JONES . . . detour to top (Globe photo by Charles Carey)”. Below it is a small reproduction of the Hals portrait she restored.

Left-Side Art Features

The left-hand column features three reproductions of South Asian paintings, each captioned with details, all currently or recently on display at the Fogg Art Museum.

1. Top Image:

   • Title: “Sheriff of Dattu and Orcha (Deccan; late 18th century)”—at the Fogg through March 7.
   • Caption: “. . . from the George P. Bickford Collection.”
   • Description: A black-and-white reproduction of a stylized painting depicting a man, likely a ruler or noble, mounted on a elaborately saddled horse, riding with dignity. The figure is dressed in flowing robes and turban and is holding what appears to be a weapon or scepter.

2. Middle Image:

   • Title: “Ragani Pata Manjari (painting; Bikaner, early 18th century)—from ‘Indian Art from the George P. Bickford Collection.’”
   • Dates: “. . . at the Fogg through March 7.”
   • Description: A detailed, colorful painting (in black-and-white reproduction) depicting a seated female figure, possibly a deity or royal lady, seated on a throne surrounded by attendants, trees, and architectural elements. The bottom border is decorated with foliage patterns.

3. Bottom Image:

   • Title: “Ragini Kalavati (painting; Bundi; ca. 1680)—on display through March 7 at the Fogg in ‘Indian Art from the George P. Bickford Collection.’”
   • Description: A serene scene with white cranes or herons standing among lotus flowers and water lilies, set against a dark background with stylized trees or rocks. The painting displays the fine detail and naturalistic motifs typical of Rajasthani miniature painting.

All three art captions are dated “GAZETTE FEBRUARY 13, 1976” in handwritten blue ink, as is the clipping’s header at the top.

Overall Visual Style

The clipping presents as a typical mid-20th-century newspaper insert: black-and-white print with dense columns of text, small photographs and illustrations, serif typography, and some handwritten annotations. The three-hole punches and yellowed paper suggest it was curated for an archive or personal collection, likely with interest in art history, Elizabeth Jones’s work, or Indian miniature paintings.

Significance

This clipping captures a moment in art conservation history — highlighting the behind-the-scenes, meticulous work that preserves cultural treasures. It also showcases public engagement with world art through museum exhibitions, especially Indian miniatures, as well as the personal story of a pioneering female conservator in an era when such roles were less common for women.

It’s a rich cultural artifact that blends art history, biography, and institutional storytelling.

The image appears to be a page from a newspaper or magazine, dated February 13, 1976, as indicated by the handwritten note at the top. The page contains several articles and images related to art restoration and museum conservation.

1. Top Left: There is a photograph of a painting titled "Shatrujit of Datia and Orchha (Datia; late 18th century)" from the George P. Bickford Collection, showcased at the Fogg Museum until March 7.
2. Top Right: A black-and-white photograph of a woman, identified as Elizabeth Jones, is accompanied by an article about her work in art conservation. The article discusses her expertise in restoring paintings and her involvement in the conservation of the "Portrait of Elisabeth Van Rijn" by Rembrandt, which was taken from the museum at gunpoint.
3. Bottom Left: Another photograph shows a painting titled "Ragini Pata Manjari (painting; Bikaner; early 18th century)" from the George P. Bickford Collection, also on display at the Fogg Museum until March 7.
4. Bottom Right: A third photograph depicts a painting titled "Ragini Kakubha (painting; Bundi; ca. 1680)," which is also part of the "Indian Art from the George P. Bickford Collection" at the Fogg Museum through March 7.

The article includes a detailed account of Elizabeth Jones's career and her work in the conservation of artworks, particularly focusing on her role at the Fogg Museum. It mentions her involvement in various restoration projects, her background in art history, and her commitment to preserving cultural heritage.

This image is a page from a newspaper dated February 13, 1976, featuring an article titled "Bettering the best -- that's an art" by Marvin Pave. The page includes several images and text.

The top left image shows a painting of a man riding a horse. The caption identifies this as "Shatrujit of Datia and Orcha (Datia; late 18th century)—at the Fogg through March 7 in "Indian Art from the George P. Bickford Collection."

Below that is another image of a painting depicting two figures, one of whom appears to be playing a musical instrument. The caption reads "Ragini Pata Manjari (painting; Bikaner; early 18th century)—from "Indian Art from the George P. Bickford Collection," at the Fogg through March 7."

The bottom left image shows a painting of birds and flowers. The caption identifies this as "Ragini Kakubha (painting; Bundi; ca. 1680)—on display through March 7 at the Fogg in "Indian Art from the George P. Bickford Collection."

On the right side of the page, there is a photograph of a woman, identified as Elizabeth Jones, with the caption "ELIZABETH JONES ... detour to top (Globe photo by Charles Carey)."

The article discusses Elizabeth Jones, a conservator at the Boston Museum of Fine Arts, and her work in restoring paintings. It mentions her education, career, and significant projects, including the restoration of a damaged Rembrandt painting. The article also highlights her discovery of a 190-year-old secret during the restoration of a portrait by John Singleton Copley, where x-rays revealed that the dress of the subject had been painted over and her hairstyle altered. The article concludes with her motivation for her work and her involvement in various restoration projects, including those in Italy.

The image is a scanned page from a newspaper or magazine, dated February 13, 1976. The page is divided into two main sections. On the left side, there are three black-and-white photographs with captions. The top photograph shows a painting of a man on a horse, with the caption "Shariff of Delhi and Orchha (Delhi, late 18th century) - at the Fogg through March 7." The middle photograph depicts another painting with people and birds, with the caption "Ragin Pate Manjari (painting: Bikaner, early 18th century) - from 'Indian Art from the George P. Bickford Collection.'" The bottom photograph shows another painting with birds, with the caption "Ragin Kamodi (painting: Bundi, ca. 1680) - on display through March 7 in the 'Indian Art' at the George P. Bickford Collection."

On the right side, there is a black-and-white photograph of a woman, with the caption "ELIZABETH JONES... detour to top (Globe photo by Charles Carey)." Below the photograph, there is a headline "IN THIS CORNER" and a subheading "Bettering the best--that's an art." The text below the subheading is an article about Elizabeth Jones, a woman who is restoring old paintings. The article mentions that she is working on a portrait of Betty Jones, which was damaged by vandals. The article also mentions that Elizabeth Jones has been restoring paintings for many years and has worked on several important projects, including paintings at the Fogg Museum and the Metropolitan Museum of Art.

A magazine clipping shows a picture of a woman painting on a canvas, and below it is a picture of a woman riding a horse. The clipping is titled "Bettering the Best - That's an Art" and features an article about Elizabeth Jones, a conservator at the Fogg Museum of Fine Arts. The article discusses Jones's work in restoring artworks, including the portrait of Copley's wife, Mrs. Copley, and the "Sherif of Datia and Orcha" painting.

The image depicts a page from a newsletter or publication dated February 13, 1976, titled "Gazette." The page is divided into two main sections: a left-hand visual panel and a right-hand textual article.

Left-Hand Panel:

• Top Section: Features an illustration of a figure riding a white horse. The rider is dressed in traditional attire, including a turban and flowing garments, suggesting a historical or cultural theme. The illustration is labeled as "The Sharif of Delhi and Orcha (India) 18th century" and is noted as being from the George P. Bickford Collection.
• Middle Section: Shows a detailed painting titled "Radha Paraj (Majari) - Bukingkar, early 19th century," attributed to the Indian Art collection at the Fogg. The painting depicts a serene scene with figures and a tranquil setting.
• Bottom Section: Displays an artwork titled "Radha Keshava (Spiriting, Bundi, ca. 1650)" from the Indian Art collection at the Fogg, with a display period noted as March 7 at the Fogg.

Right-Hand Panel:

• Headline: The article is titled "Bettering the best—that's an art" and is authored by Marvin Pave from the Globe Staff.
• Content: The article discusses the work of Elizabeth (Betty) Jones, a native of Watertown, Conn., who is recognized as a leading expert in art restoration. It highlights her recent project involving the restoration of a painting known as "The Van Ruyn Portrait of Gun violence" at the Boston Museum of Fine Arts.
• Details:
  • Jones is described as one of the world’s experts in restoration, having worked on significant pieces over the years.
  • The article mentions her latest project, which involved repairing damage to a painting that had been slightly headed this week. The restoration was deemed successful.
  • The painting in question was part of a collection and was restored to its original condition, with the article noting that the paint was not harmed during the process.
  • The article also provides background on Jones, including her education at the Art Students League in New York, her work with aircraft companies, and her involvement in conservation projects, such as those at the National Parks Service.
  • It concludes with a quote from Jones: “They needed help,” emphasizing her motivation to restore and preserve art.

Additional Elements:

• Photograph Caption: At the top right of the page, there is a photograph of Elizabeth Jones with the caption: "Elizabeth Jones ... detour to top (Globe photo by Charles Carey)."
• Layout: The page has a clean, organized layout typical of a museum or institutional newsletter, with clear headings, subheadings, and visual elements to complement the text.

Overall, the image conveys a focus on art restoration and conservation, highlighting the expertise of Elizabeth Jones and her contributions to preserving historical artworks.

This image is a photograph of a collage or scrapbook page with several clippings. The left side of the image has three clippings with dates written on them, stating "Gazette February 13, 1976." These clippings seem to be reproductions of artwork related to different cultures: the top clipping shows an illustration of a figure on horseback, wearing what might be a historical costume; the middle clipping is titled "Dromedary of Armor and Outfit Odaiba;" and the bottom clipping depicts a scene with peacock-like birds (labelled "Peacock Kelburne"), hinting at an Indian influence.

On the right side, there is an article with the headline "Bettering the best – that's an art IN THIS CORNER." Underneath this headline is an article discussing someone's work and contributions to the art, with a focus on the restoration and preservation of art. There are mentions of specific engagements with historical artworks and museums, suggesting that the individual is deeply involved in the art preservation community.

The overall theme of this image suggests an interest in art, history, and culture, as well as the importance of preserving and bettering artworks. The actual date and text on the clippings hint that the content may be from a publication that covers cultural events and art news.

This image is a newspaper clipping dated February 13, 1976, from the Gazette. It includes an article titled "Bettering the best--that's an art" by Marvin Pave from the Globe Staff, about Elizabeth (Betty) Jones, a conservator of painting at the Boston Museum of Fine Arts. The article discusses her career path starting shortly after World War II, her work on a Rembrandt portrait, and her restoration techniques, including photographing objects with a telescope lens and using synthetic resins. It also mentions her studying fine arts at the Fogg Museum and her work with National Parks Service restoration projects.

The left side of the clipping features three images with captions:

1. An 18th-century painting of a "Shamsi of Darai and Oorcha (Datia)" from the George P. Bickford Collection.
2. A painting titled "Ragini Pan Menari (Bikaner; early 18th century)" from "Indian Art from the George P. Bickford Collection."
3. A painting titled "Ragini Kaikyohi (Bundi; ca. 1680)" also from the Bickford Collection's display, featuring stylized birds.

At the top right, there is a photo of Elizabeth Jones performing her work behind a canvas or frame. Some parts of the image or text have been blurred for privacy.

This image is of a scrapbook page containing a collection of newspaper clippings from a publication dated February 13, 1976 (noted as "Gazette" in handwriting). The clippings include:

1. Left section: Black-and-white images of artwork with small captions beneath them. These artworks appear to be traditional Indian paintings or illustrations, including an 18th-century painting of a nobleman on horseback and other decorative scenes, part of the "George P. Bickford Collection" exhibition. Details such as "Indian Art" and "Fogg Museum" are mentioned in the captions.

2. Right section: A newspaper article featuring a profile titled "Bettering the best—that's an art" by Marvin Pave, discussing the work of an art restoration professional, Elizabeth Jones. The article highlights her career in art restoration after WWII and her projects, such as restoring a Rembrandt and her association with the Fogg Art Museum.

3. Top-right section: A photograph of Elizabeth Jones, credited to Charles Carey, accompanies the article. The photo appears pixelated or partially obscured.

The entire page is mounted on slightly faded brown paper. A hole punch is visible on the left side, suggesting that it was part of a binder or collection.