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The image shows a newspaper clipping attached to a piece of brown cardboard, which appears to be part of a scrapbook or binder. The clipping is from the New York Times, dated January 27, 1968. The headline of the article reads, "3 Hartford 'Rembrandts' Aren't His, Panel Rules." The article is written by Edith Evans Asbury.

The article discusses the findings of a panel of experts who determined that three paintings previously believed to be by the famous Dutch artist Rembrandt were not actually painted by him. The paintings are part of a collection of four Rembrandts in Hartford, Connecticut, and include "Portrait of a Young Man" (1667), "Portrait of a Woman" (1665), and "Portrait of a Woman" (1632). The fourth painting, "The Scholar," was not examined by the panel.

The panel, headed by Horst Gerson, concluded that these paintings were likely the work of Rembrandt's pupils or followers. The article mentions that the paintings will be featured in an unpublished catalogue of Rembrandt's works and that the findings will be published in a two-volume series on the artist. The decision was based on comparisons with authenticated Rembrandt paintings and consideration of style, brush strokes, and pigment.

The article also includes comments from various experts and curators, such as Mr. Marvin and Mr. Gerson, who provide additional context and insights into the authenticity of the paintings. The clipping is slightly torn on the right side, and the text is partially obscured.

The image is a newspaper clipping from The New York Times, dated Friday, January 21, 1977. The article is titled "3 Hartford 'Rembrandts' Aren't His, Panel Rules" and is written by Edith Evans Asbury.

Summary:

The article discusses a decision made by a panel of researchers at Yale University regarding three paintings previously attributed to the Dutch artist Rembrandt. These paintings were part of the Atheneum's art collection in Hartford.

Key Points:

1. Initial Belief: The three paintings in question, previously believed to be by Rembrandt, included:

   • "The Standard Bearer"
   • "Portrait of a Man in a Tall Hat" (also known as "Portrait of a Young Man in a Plumed Hat")
   • "Portrait of a Woman" (also known as "Portrait of a Woman Seated")

2. Research and Findings:

   • The research was part of the Rembrandt Research Project, an authoritative group that re-evaluates works attributed to Rembrandt.
   • After detailed study, researchers concluded that none of the three paintings were created by Rembrandt himself.
   • Specifically, "Portrait of a Young Man" was determined to be the work of one of Rembrandt’s students, likely painted around 1637.
   • The other two paintings were believed to be by other artists from Rembrandt’s circle, rather than Rembrandt himself.

3. Historical Context:

   • Charles Cunningham, who was the director of the Atheneum in the 1950s, had previously doubted the authenticity of these works.
   • The paintings were acquired by the museum between 1858 and 1925.

4. Panel and Decision:

   • The decision was made by the Rembrandt Research Project, which has been re-evaluating Rembrandt attributions.
   • The panel's findings led to the reclassification of these works.

5. Reactions:

   • Museum officials, including Mr. Peter Marzio, the then-chief curator of the Atheneum, acknowledged the findings.
   • The article mentions that additional information might become available in the future, and that the museum might re-evaluate its display based on the new findings.

The reclassification of these paintings reflects the ongoing scholarly work to correctly attribute works of art and ensure the accuracy of museum collections.

The image shows a newspaper clipping from "The New York Times," dated January 21, 1978. The headline reads: "3 Hartford 'Rembrandts' Aren't His, Panel Rules." The article is written by Edith Evans Assbury.

Here is a detailed summary of the article:

Three paintings previously believed to be by Rembrandt, part of a collection of four owned by the Wadsworth Atheneum in Hartford, Connecticut, have been reclassified. These paintings were acquired as gifts in 1902, 1905, and 1922. A panel of researchers from Yale University, led by Mr. Haverkamp-Begemann, concluded that "Portrait of a Young Man" and "Portrait of a Woman (Saskia)" are not by Rembrandt but by a 17th-century painter influenced by him. The third painting, "Landscape With a Cottage," was also identified as not by Rembrandt but by an unidentified 17th-century artist.

This reclassification is part of an ongoing study of the museum's collection, which includes 900 paintings. The Atheneum had previously owned 630 Rembrandt paintings, which have been reduced to 420, and now further down to 360.

The Atheneum's chief curator, Mr. Cunningham, noted that this reclassification is based on a detailed comparison with authenticated Rembrandt works. He mentioned that the findings align with recent studies and catalogues, which have shown that many works previously attributed to Rembrandt are not actually his.

Mr. Cunningham also highlighted that the museum's collection is being reviewed in detail, and the findings are consistent with the latest research and catalogues. The museum's new catalogues, which are the first of their kind, aim to provide accurate information about the museum's art collection.

The image shows a newspaper clipping from the New York Times, dated January 21, 1978. The headline reads "3 Hartford 'Rembrandts' Aren't His, Panel Rules" by Edith Evans Asbury. The article discusses the reclassification of three paintings previously believed to be by Rembrandt.

Here are the key points from the article:

1. Background:

   • Three paintings in the collection of the Wadsworth Atheneum in Hartford were thought to be by Rembrandt, based on previous attributions from the 19th century.
   • These paintings were part of a larger collection of four acquired by the museum between 1862 and 1955.

2. Research:

   • A team of researchers at Yale University, led by Mr. Haverkamp-Begemann, conducted a three-year study of the paintings.
   • They compared the Hartford paintings with authenticated Rembrandt works and concluded that they were not by the Dutch master.

3. Reclassification:

   • The three paintings were reclassified as works of a 17th-century artist influenced by Rembrandt, but not by Rembrandt himself.
   • The paintings are identified as "Portrait of a Young Man," "Portrait of a Woman (Saskia)," and "Landscape With a Cottage."

4. Museum Collection:

   • The museum's collection of paintings attributed to Rembrandt was reduced from 900 to 420, with the latest reclassification bringing it down to 360.

5. Expert Opinions:

   • The decisions were based on detailed comparisons with other known works by Rembrandt and input from experts in the field.
   • Charles C. Cunningham, then director of the Atheneum, and other art historians were involved in the reclassification process.

6. Catalogue:

   • A newly published catalogue of the museum's collection of paintings from the Netherlands and Germany from the 17th century was mentioned, which is the first of a three-volume series.

The article emphasizes the rigorous process and expert consensus that led to the reclassification of these notable paintings.

The image is a newspaper clipping from The New York Times dated January 21, 1978. The article is titled "3 Hartford 'Rembrandts' Aren't His, Panel Rules" by Edith Evans Asbury.

Here's a detailed summary:

• The article discusses a panel's decision that three paintings previously believed to be by Rembrandt are not his work.

• The paintings in question are part of a collection owned by the Hartford Art Museum. They include:

  • "Portrait of a Young Man"
  • "Portrait of a Woman"
  • "Landscape With a Cottage"

• These works were acquired as gifts in 1862, 1915, and 1932 respectively.

• Researchers from Yale University and the museum conducted a three-year study to determine the authenticity of these paintings. After this study, the panel concluded that "Portrait of a Young Man" is by a 17th-century painter, and "Portrait of a Woman" and "Landscape With a Cottage" are likely not by Rembrandt but instead belong to a different period or artist.

• The study was based on detailed analysis and comparison with known Rembrandt works. The conclusions were reached by experts, including Mr. Harvey Haverkamp-Begeman, the curator of the Atheneum.

• The decision is part of a broader effort to authenticate the museum's collection, which includes paintings from the Netherlands and Germany of the 17th and 18th centuries.

• The article also includes comments from various museum curators, who discuss the implications of these findings and the importance of continuing to research and authenticate artworks in the museum’s collection.

• It touches on the broader context of art authentication, the significance of historical records, and the need for ongoing investigation to ensure the accuracy of art attributions.

The image shows a yellowed, clipped newspaper article titled "3 Hartford 'Rembrandts' Aren't His, Panel Rules," dated Friday, January 21, 1988. The article, written by Edith Evans Asbury, reports that three paintings once believed to be by Rembrandt and part of the Wadsworth Atheneum in Hartford, Connecticut, have been reclassified. The paintings—"Portrait of a Young Man," "Portrait of a Woman (Saskia?)," and "Landscape with a Cottage, Windmill, and Goose"—were reattributed to unknown 17th-century artists by a team of researchers at Yale University. The article notes this is part of an ongoing effort to authenticate Rembrandt’s works, with the number of his confirmed paintings decreasing over time. The article also includes comments from experts and the museum’s response, indicating the reclassifications will be reviewed in ten years.

This image shows a newspaper clipping mounted on a brown cardboard sheet with a punched hole on the left side, which suggests it might be from an organized file or archive. The article header reads "3 Hartford 'Rembrandts' Aren’t His, Panel Rules" by EDITH EVANS ASBURY. The date and source of the newspaper are not clearly visible in this image, except for a partial visible date that says "FRIDAY, JANUARY 27, 1978".

The article discusses three paintings previously believed to have been done by Rembrandt but later determined not to be his work. The reclassification of these paintings seems to have been based on the findings of an expert panel or authority. The article details the works in question and provides some insight into the process and implications of art authentication.

There are some signs of wear and aging on the paper, indicating that the clipping is relatively old. The text of the article below the headline is too small to read clearly in the image provided.

The image shows a brown scrapbook or album page with a newspaper clipping glued to the top right corner. The clipping is an article titled "3 Hartford 'Rembrandts' Aren't His, Panel Rules" by Edith Evans Asbury. The text discusses a decision by a panel that three paintings previously believed to be done by Rembrandt were actually done by other painters influenced by the Dutch master. It mentions research conducted by a team from Yale University and details about the identification process and reclassification of these paintings. The article references paintings owned by the Wadsworth Atheneum in Hartford, Connecticut, and comments from art experts about the attribution of these works. The clipping is slightly aged and yellowed, with a portion torn off the bottom right corner. There is also a small, partially visible printed text line along the top edge of the page, which includes a date: "JANUARY 27, 1968."

The image appears to be a newspaper clipping or article about three paintings that were previously believed to be Rembrandts, but a panel of experts has ruled that they are not his work. The article includes details about the paintings, the researchers who studied them, and the decisions made by the panel. The clipping is mounted on a beige folder with holes on the sides, likely for filing purposes.

The image shows a newspaper clipping or article from The New York Times dated Friday, January 27, 1918. The headline reads:

"3 Hartford 'Rembrandts' Aren't His, Panel Rules"

The article, authored by Edith Evans Asbury, discusses the reclassification of three paintings previously attributed to Rembrandt by a panel of researchers at Yale University. The paintings in question are part of a collection of four owned by the Wadsworth Atheneum in Hartford, Connecticut. The article details the findings of a team led by Mr. Haverkamp-Begeman, a Yale University graduate, who determined that the three paintings—Portrait of a Woman (Sarah de Geer), Portrait of a Young Man, and Landscape With a Cottage—were not actually works by Rembrandt.

The article explains that the reclassification was based on a study conducted by the researchers, who concluded that the paintings were the work of a late 17th-century artist influenced by Rembrandt but not the master himself. The research identified the artist as Samuel Hoogstraten, a contemporary of Rembrandt who was known for imitating his style.

The article also mentions that the reclassification was controversial, with some experts, such as Mr. Marlow, disagreeing with the findings. The panel's decision was made after comparing the paintings with undisputed Rembrandt works and examining certain details. The article notes that the reclassification has sparked debate among art historians and curators, with some expressing skepticism about the panel's conclusions.

The article concludes by stating that the reclassification has reduced the number of authenticated Rembrandt paintings in the world from 630 to 426, according to the chief curator of the Clark Art Institute, Mr. Williamson, who is now retired and living in Massachusetts.

The overall tone of the article is informative, presenting the findings of the panel and highlighting the ongoing debate within the art world regarding the authenticity of the paintings.