Vincent van Gogh

Vincent
van Gogh
Moulin de la Galette
dickinson
Vincent
van Gogh
Moulin de la Galette
dickinson
Vincent van Gogh ( D u tc h , 1 8 5 3 – 1 8 9 0 )
Moulin de la Galette, 1887
S i g n e d lo w e r l e f t
Vincent
Oi l on c a n va s
5 5 x 3 8 . 5 c m . ( 2 1 1/2 x 1 5 1/4 i n . )
Provenance
Theo van Gogh, Paris, 1890-91; and thence to
Johanna van Gogh Bonger, Paris and Amsterdam, until at least 1906;
Isaac Israëls, The Hague given in exchange for a portrait;
d’Audretsch Art Gallery, The Hague.
A. Bendien (1876-1956), Almelo, by 1948.
Myrtil Frank, New York, purchased some time after 1954.
Charles W. Engelhard, New York, purchased in early 1958.
Private Collection.
L i t e r at u r e
J.-B. de la Faille, L’œuvre de Vincent van Gogh; catalogue raisonné, 4 vols., Paris & Brussels, 1928, no. 349.
H.P. Bremmer (ed.), Beeldende Kunst 23 (1936-37), issue 8, no. 61
J.-B. de la Faille, Vincent van Gogh, Paris 1939, no. 273. (illustrated p.212)
J.-B. de la Faille, The works of Vincent van Gogh: His paintings and drawings, Amsterdam, 1970, no. 349. (illustrated p.167.)
D.E. Gordon, Modern Art Exhibitions 1900-1916, Munich, 1974, vol. II, pp. 132, 135, 143.
B. Welsh-Ovcharov, Vincent van Gogh: His Paris period 1886-1888, Utrecht, 1976, p. 232.
J. Hulsker, The new complete Van Gogh: Paintings, drawings, sketches, Amsterdam and Philadelphia, 1996, no. 1184. (illustrated p.167.)
I.F. Walthre, R. Metzger, Vincent can Gogh: The Complete Paintings, Cologne, 2001 (illustrated p. 195).
W. Feilchenfeldt, Vincent van Gogh, the years in France: Complete paintings 1886-1890, London, 2013, p. 78. (illustrated p.167.)
E xhibited
Groningen, Art Gallery Scholtens & Zoon, Tentoonstelling van schilderijen van Vincent van Gogh, 3-19 March 1904.
Amsterdam, Stedelijk Museum, Tentoonstelling Vincent van Gogh, 15 July – 1 Sept. 1905, no. 82 [as “Moulin de la Galette”].
Utrecht, Vereeniging Voor de Kunst, Tentoonstelling van schilderijen door Vincent van Gogh, 10 Sept.– 1 Oct. no. 22.
Leiden, Leidsche Kunstvereeniging, Tentoonstelling van schilderijen door Vincent van Gogh, 7 – 16 Oct. no. 22 [as “Moulin de la Galette”].
Rotterdam, Kunstzalen Oldenzeel, Tentoonstelling Vincent van Gogh, 26 Jan. – 28 Feb. 1906, no. 22 [as “Moulin de la Galette”].
Hamburg, Galerie Commeter, Nov. – Dec. 1911.
Dresden/Breslau, Galerie Arnold, Ausstellung Vincent van Gogh 1853-1890, Feb. 1912, no. 27
Paris, Musée du Louvre, Exposition Hollandaise; tableaux, aquarelles et dessins anciens et modernes, April – May 1921, no. 162.
The Hague, Pulchri Studio, Tentoonstelling van kunstwerken uit het bezit van werkende leden van het genootschap, April 1924, no. 3.
Amsterdam, Art Gallery Van Wisselingh, Hollandsche en fransche schilderkunst der XIXe en XX eeuw. Keuze-tentoonstelling, 27 April – 28 May
1932, no. 20.
Basel, Kunsthalle Basel, Vincent van Gogh 1853-1890, 11 October – 23 Nov. 1947, no. 38 (on loan from a private Dutch collection).
Tel Aviv, Tell Aviv Museum, Dutch painting 1850-1950, 1954, no. 28 (on loan from Mr. Bendien, Almelo)
New York, Wildenstein Gallery, Olympia’s Progeny, 28 Oct. – 27 Nov.1965, no. 48 (on loan from Mr. and Mrs. Charles W. Engelhard)
I n t r od u c t ion
Le Moulin de la Galette is a vivid and energetic example of Vincent van Gogh’s
Parisian manner, and one of the finest examples from his series of paintings of
the windmills of Montmartre, of which only two remain in private hands. The
two years van Gogh spent in the French capital resulted in a dramatic artistic
evolution, as he progressed from painting sombre and realistic scenes of Dutch
peasant life to brilliantly-coloured Post-Impressionist landscapes. His exposure
to the work of avant-garde artists like Seurat and Signac, the inspiration of the
café culture in Montmartre, and his newly optimistic outlook all contributed
to the radical and lasting changes in van Gogh’s technique. By the time he left
for Arles in February 1888, he had transformed himself into one of the most
innovative and expressive colourists in modern painting.
Va n G o g h i n Pa r i s
Van Gogh arrived in Paris from Antwerp on 28 February 1886. He lived with
his brother Theo, first on Rue Laval, then in a slightly larger flat at 54 Rue
Lepic, situated on a hill with a panoramic view of the southwestern part of
the city. Van Gogh soon settled into the energetic, Bohemian neighbourhood,
becoming a regular at the Café du Tambourin and frequenting popular local
entertainment and nightlife spots, where he befriended other artists and
intellectuals. He read contemporary French literature by Zola and Goncourt
and observed the elegant flâneurs strolling along the Parisian boulevards.
It was Theo who had first encouraged Vincent to emulate the Impressionists
in order to make his work more saleable. At the time of Vincent’s arrival, Theo
was director of the Montmartre branch of the art dealer Boussod, Valadon
& Cie, which was located at 19 Boulevard Montmartre. In the wake of the
retirement of founder Adolphe Goupil (1806-1893), the gallery turned its
attention in a more modern direction, and Theo was permitted to purchase a
handful of Impressionist works. However, by early February 1886, there was
only one small painting by Alfred Sisley remaining in the gallery’s inventory.
Before arriving in Paris, Vincent was not familiar with this radical new genre
of painting: in a letter to Theo dated 21 April 1885, he admitted: “There is
a school – I believe – of Impressionists. But I don’t know much about it.”
(Letter 495.) Vincent initially enrolled as a pupil in the studio of the academic
painter Fernand Cormon on the Boulevard de Clichy. There, he met Henri
de Toulouse-Lautrec, Émile Bernard, and Louis Anquetin, but he found the
rigorous and formal curriculum uninspiring and left after just three months.
Realising that the lessons he had derived from the Barbizon and Hague schools
of painting were becoming outdated, van Gogh spent the summer of 1886
painting brighter floral still lifes.
Va n G o g h a n d Imp r e ss ion i sm
The spring and summer also saw van Gogh’s
first prolonged and intensive exposure to
Impressionist paintings, thanks to two landmark
exhibitions. The first of these was the eighth
and final Impressionist group exhibition, which
ran from mid-May to mid-June, and which
included Neo-Impressionist works by Georges
Seurat, Paul Signac, Camille Pissarro and others.
He was unimpressed by most of what he saw,
describing it in a letter to his sister Willemien as
“careless, ugly, badly painted, badly drawn, bad
in colour, everything that’s miserable.” (Letter
626, 16-20 June 1886). The second was the Ve
Exposition Internationale organised by the dealer
Georges Petit, which ran between mid-June
and mid-July. This show included a number of
works by Pierre-Auguste Renoir and thirteen by
Claude Monet, among them two recent views
of Dutch tulip fields, one featuring a windmill
(W.1067, Musée d’Orsay, Paris). Over the course
of the summer, it seems van Gogh was gradually
won over by the Impressionist aesthetic. In the
autumn he wrote to the English painter Horace
Mann Livens: “In Antwerp I did not even know
what the Impressionists were, now I have seen
them and though not being one of the club,
yet I have much admired certain Impressionist
pictures – Degas, nude figure – Claude Monet,
landscape.” (Letter 569, September or October
1886.) He began referring to the Impressionist
painters as the artists of the Grand Boulevard,
after the prestigious galleries at which they
exhibited (Durand-Ruel and Petit), situated on
wide streets near the Opéra. He called the more
avant-garde among his acquaintances, including
Anquetin, Bernard and Toulouse-Lautrec, the
artists of the Petit Boulevard. Lacking gallery
representation, this group showed their work
at cafés and bars, and anywhere else that would
permit them to exhibit. The Petit Boulevard
group found the attractive, decorative qualities
of Impressionism overly superficial. Van
Gogh exhibited his works alongside those of
Signac and others at the Théâtre-Libre, which
was owned and had been newly renovated by
André Antoine, in 1887-88. He also tried to
assemble the Petit Boulevard group to exhibit
at a restaurant in the avenue de Clichy in 1887,
but the short-tempered artist was obliged to
cancel plans in the wake of an argument with
the proprietor.
Note to Theo, early March 1886 (570/459). Van Gogh
Museum, Amsterdam
Claude Monet (1840-1926), Champs de Tulipes en Hollande, oil on canvas, 65.5 x 81.5 cm., Musée d'Orsay, Paris.
Entrance to the Moulin de la Galette, 1887, pencil, pen in black ink, transparent and
opaque watercolour on wove paper, 31.6 x 24 cm., Van Gogh Museum, Amsterdam
M on t m a rt r e
This painting has been dated by the van Gogh
Museum in Amsterdam to mid-April 1887, at
the height of van Gogh’s interpretation of the
Impressionist manner. (Although the date of
the painting has historically been the subject
of some debate among scholars, curators at
the van Gogh Museum specifically cite the
trees beginning to show signs of spring leaves
as supportive of their position. Also in favour
of a spring 1887 dating are Louis van Tilborgh,
Annet H. Tellegen and Bogomila WelshOvcharov. The early van Gogh cataloguer
Jacob-Baart de la Faille promoted a date in the
winter of 1886, and this was maintained more
recently by Walter Feilchenfeldt.)
The Moulin de la Galette was not a single
windmill but rather the iconic region of
Montmartre near Vincent and Theo’s apartment
on the rue Lepic. (The region of Montmartre
where the van Gogh brothers lived was on the
south side of the hill known as “La Butte”, while
the windmills were situated on the rural north
side.) There were three windmills remaining
from the thirty that originally stood: the Moulin
de Blute-Fin, the Moulin Radet and the Moulin
à Poivre. This last is the subject of this painting
by van Gogh, and it was the only one of the
three still functioning as a mill by the late 19th
Century. Together the three windmills were
popularly referred to as the Moulin de la Galette
and they reminded the van Gogh brothers of
their native Holland. According to local history,
in 1844 four men from the mill-owning Debray
family were involved in a fight with Cossacks in
Montmartre. Three were killed and the fourth
was so severely injured that he was unable to
work as a miller. He transformed his windmill,
the Blute-Fin, into a café in which drinks were
served with a biscuit, “une galette”, and the
success of this new venture led him to name
his windmill after it. The other three brothers
are buried in the nearby Cimitière du Calvaire,
with their graves marked by a red windmill.
This monument eventually lent its name to
the famous cabaret, the Moulin Rouge, which
was co-founded in 1889 by Charles Zidler and
Joseph Oller. The nightlife of Montmartre
epitomised the carefree spirit of the Belle
Époque, offering a seemingly endless array of
Photograph of the Le Blute-fin windmill, c. 1900.
Amsterdam, Van Gogh Museum.
Map of Le Moulin de la Galette and the three mills showing
the approximate viewpoint van Gogh painted the present
work from.
entertainment, both to members of the working
class and to bourgeois patrons seeking a thrill.
There were cabarets and dance halls, cafés
and bars, and a racy, uncensored atmosphere.
Visitors could watch the provocative new
dance, the Can-Can, or pay a call at one of the
many brothels lining the streets. Vincent was
certainly not the first artist to be attracted to
the visual possibilities offered by this hedonistic
neighbourhood. Toulouse-Lautrec was painting
the demi-monde in Montmartre in 1886-87,
although his advertising posters for the Moulin
Rouge were not published until the 1890s, after
Vincent’s death. Pierre-Auguste Renoir’s iconic
Bal du Moulin de la Galette is lighter in both
mood and palette, taking as its subject the lively
mood and elegant dress of a Sunday afternoon
dance (Musée d’Orsay, Paris). And a few years
later, Pablo Picasso’s version of the Moulin de
la Galette emphasised both the intoxicating
appeal of the neighbourhood and its vulgarity,
casting the garish figures in an eerie green light
(Guggenheim Museum, New York).
Above:
The Moulin Rouge, photograph
Moulin Rouge T-L?
Left:
Henri de Toulouse-Lautrec (1864-1901), Moulin Rouge:
La Goulue, 1891, Lithograph, 170 x 118.7 cm.
Opposite:
Pierre-Auguste Renoir (1841-1919), Bal du Martin de
la Galette, 1876, oil on canvas, 131 x 175 cm., Musée
d’Orsay, Paris.
Pablo Picasso (1881-1973), Le Moulin de la Galette,
1900, oil on canvas, 88.2 x 115.5 cm., Solomon R.
Guggenheim Museum, New York.
Va n G o g h ’ s M o u l i n d e l a G a l e t t e
Diggger, 1882, F. 908, pencil in black ink
on watercolour paper, 48.7 x 29.7 cm.
This painting is a beautifully-worked example of van Gogh’s new manner of
painting in the wake of his exposure to the Impressionists in Paris. The colour
palette is lighter, fresher, and more pure in tonality, and the artist has abandoned
the heavily-impastoed manner of his Dutch works in favour of a more delicate
touche (brushstroke), which in some places allows the white of the canvas to
show through. Even in more thickly-painted areas, such as in the foreground,
the palette remains bright and clear. Van Gogh may have been introduced by
his friend Bernard to the work of the Neo-Impressionists Seurat and Signac,
whose aesthetic is ultimately derived from the colour theories of Charles Blanc
and Eugene Chevreul. The Neo-Impressionists favoured an “optical mix”
of colour, painting in small dots of pigment so that the individual hues are
mixed by the viewer’s eye rather than on the palette. Van Gogh was impressed,
but adapted the technique to be less restrictive, and began layering slightly
longer strokes and dashes of complementary colour on his canvases. These
hatched, parallel strokes are characteristic of his mature painting style. For
van Gogh, the aim of colour was to evoke an emotional response, whereas
for the Impressionists the interest lay exclusively in the visual qualities of the
surface. Vincent was optimistic about the wealth of possibilities to be found
in colour, writing to Theo in 1888 to exclaim: “The painter of the future is
a colourist such as there hasn’t been before” (Letter 604, 4 May 1888). The
figure in this painting is based on a drawing of a Digger made in November
1882, in the Netherlands (F 908, JH 258). At the time, van Gogh wrote to
his friend Anthon van Rappaerd (1858-1892): “I have drawn the digger in 12
different poses and am still looking for better ones. He is a marvellously fine
model, a true veteran digger.” (Letter 289, 26 November 1882). There are now
only three known drawings of these original dozen, all in the collection of the
van Gogh Museum in Amsterdam. The drawing used for the present painting
is the most highly worked-up of the three, which suggests that van Gogh
found it the most successful composition. Interestingly, although by 1886 van
Gogh’s paintings had moved away from his early Dutch manner, his landscape
drawings did not begin to exhibit a livelier and lighter touch until the following
year. A drawing of The Blute-Fin Mill dating from February/March 1887 is very
fine in its draughtsmanship, yet comparatively staid in handling (The Phillips
Collection, Washington; F 1396a, JH 1185).
Van Gogh returned repeatedly to the theme
of the windmill in his landscapes during 1886
and 1887. He painted views of all three mills,
though paintings associated with them often
bear the title “Moulin de la Galette”, which
has historically caused some confusion over
the identification of individual windmills. Van
Gogh’s painted views include both horizontal
and vertical compositions, all of the vertical
ones on a relatively small scale, and the present
example is unusually elongated as though to
emphasise the height of the mill below the
expanse of vivid cerulean sky. Van Gogh has
varied his brushstrokes to reflect the materials
he is representing, using thick daubs of paint
for the earthy foreground; dry, scratchy strokes
in a multitude of hues for the stone wall with
its clinging vines and crumbling masonry; and
broad, loose, marks in the sky. Rather than
signing in a different colour, van Gogh has
inscribed his name in the thick impastoed paint
at the bottom of the canvas using the pointed
end of his brush. Signed paintings by van Gogh
are a rarity.
The Moulin de Blute-fin, 1886, F. 348, oil
on canvas, 61 x 50 cm., The National
Museum of Fine Arts, Buenos Aires.
The Moulin à Blute-fin and Moulin à Poivre,
1887, F.348a, oil on canvas, 46 x 38 cm.,
Carneigie Museum of Art, Pittsburgh.
Moulin de la Galette, 1886, F.274,
oil on canvas, 46 x 38 cm.,
Museum of Art, Glasgow.
The Blute-fin Mill, 1887, pen and ink, graphite on laid paper,
42.5 x 56.5 cm., The Phillips Collection, Washington.
Windmills on Monmartre, 1886, oil on
canvas, 46.5 x 38 cm., Bridgestone
Museum of Art, Tokyo.
A corner of Montmartre, 1887, F.347, oil on canvas, 35 x 64.5 cm.,
Rijksmuseum, Amsterdam.
Montmartre: windmills and allotments, 1887, F.346, oil on canvas,
43 x 80 cm., Van Gogh Museum, Amsterdam.
The Mill le Radet - Rue Lepic, 1886, F.228,
oil on canvas, 38 x 46.5 cm., Staatliche
Museum, Berlin.
H i s tor y of t h e M o u l i n d e l a G a l e t t e
Following Vincent’s death, this painting
belonged to Johanna Gesina Bonger (18621925), who became Vincent’s sister-in-law
when she married Theo van Gogh on 17 April
1889. Johanna was widowed on 25 January
1891, scarcely six months after Vincent’s death
from self-inflicted injuries on 29 July 1890;
Theo had suffered a complete collapse in
October of 1890 and never recovered. As heir
and executor of the estates of both brothers,
Johanna suddenly found herself responsible
for Theo’s Paris flat, which was crammed full
of paintings, and for a cupboard full of letters
from Vincent, with which Theo had entrusted
her. Her brother, Andries Bonger, who was
originally responsible for introducing her to
Theo, made an inventory of all of the paintings
now in Johanna’s possession. (Andries was also
a friend of Vincent’s, and the two corresponded;
Vincent called him “André” in letters.) Near the
bottom of page 4, listed as number 35 on the
inventory, is the Moulin de la Galette. A short time
later, Johanna left Paris for her native Holland,
along with her infant son (named Vincent, after
his uncle) and almost the entirety of Vincent’s
painted and graphic oeuvre.
Johanna van Gogh was a canny businesswoman,
and she was determined to bring Vincent’s
paintings to the attention of the critics and
connoisseurs. Among the artist’s earliest
champions was the dealer Ambroise Vollard,
who began enthusiastically buying any pictures
he could get his hands on. Vollard first contacted
Johanna in 1895, and though she was initially
hesitant to cooperate with the powerful dealer,
they began corresponding with increasing
frequency. In early 1896, Johanna organised
two dedicated exhibitions in Holland: one in
Groningen in February, where 101 works were
shown, and a second in Rotterdam in March,
where 52 pictures were shown. In September of
that year, Vollard was finally permitted to exhibit
56 paintings by Van Gogh at his new premises
on Rue Lafitte in Paris. Johanna allowed Vollard
to purchase a few works, but she deliberately
marked some of the best pictures (and those
specifically referred to by Vincent in his letters)
as “not for sale”, in order to generate interest and
curiosity among collectors. Further exhibitions
followed, and Johanna made a point of working
with a number of different dealers, so as not to
form a dependency on any individual or gallery.
In July and August of 1905, a major exhibition
held at the Stedelijk Museum in Amsterdam
helped to cement Vincent’s reputation as a vital
1905 Stedelijk Museum Exhibition cover, Amsterdam
Label on reverse of present work
Jo van Gogh-Bonger with her son Vincent Willem va ekrouw Jo
Van Gogh-Bonger, 1925, oil on canvas, 50 x 42 cm, it then says
Theo van Gogh, 1889, photograph, Van Gogh Museum,
Amsterdam
force in Post-Impressionist painting. The show
included 474 paintings and drawings in total,
and was both organised and funded by Johanna
herself. The Moulin de la Galette bears a label on
the reverse referring to the picture’s inclusion in
the exhibition. Johanna also understood that the
close relationship between Theo and Vincent
was interesting and relevant, and undertook
the monumental chore of translating all of the
letters and organising their publication in 1914.
(Israëls was aquainted with Vincent as well; a
letter written by Vincent in July of 1883 quotes
Israëls; see letter 361.) Israëls sold much of
his work through Goupil. A note written
by Johanna and Theo’s son Vincent Willem
suggests that Johanna gave several paintings to
Israëls in exchange for portraits. In addition
to the Moulin de la Galette, Israëls owned the
Wheatfield with Auvers in the background (F801;
Musée d’Art et d’Histoire, Geneva) and the
Olive Trees (F711; Private Collection). In 1904,
Israëls moved to Paris, where he lived at 10 Rue
Alfred Stevens, near both Montmartre and the
studio of Toulouse-Lautrec. Israëls painted his
own view of the Moulin de la Galette, a work
that is distinctly different in feel to van Gogh’s
painting, with its focus on an elegant young
couple seated at a table outdoors. (1905-6). He
also painted a portrait of Johanna van Gogh.
The Moulin de la Galette was given by Johanna
to the painter Isaac Israëls (1865-1934), a
Dutch artist associated with the Amsterdam
Impressionist movement. Between 1894 and
1897, Israëls was romantically involved with
the newly-widowed Johanna van Gogh, having
first been introduced to Theo when the latter
was working at the Goupil gallery in the Hague.
In 1919, Israëls had a number of paintings on
loan from Johanna, among them the Sunflowers
that was eventually purchased by the National
Gallery. (There is a portrait of a woman reading
by Israëls in which the sitter is posed in front
of van Gogh’s now-iconic painting.) After the
affair ended, Johanna married another painter,
Johan Cohen Gosschalk, in 1901. When she
was widowed for the second time in 1912, she
changed her name back to van Gogh.
Isaac Israëls, Photograph
Woman in Profile, Before ‘Sunflowers”,1917, oil
on canvas, 17 x 59 cm., Hannema de Stuers
Foundation, Netherlands.
Among the more recent owners of the Moulin
de la Galette was Charles W. “Charlie” Engelhard
Jr., the president of the Engelhard Minerals
and Chemicals Corporation, which imported
precious metals. At the height of his success,
Engelhard was introduced to the English
author Ian Fleming, famous for his series of
spy thrillers starring James Bond. The two men
were introduced by one of Engelhard’s Londonbased bankers, Robert Fleming & Company,
which was founded by Fleming’s grandfather.
Impressed by Engelhard’s extravagant lifestyle,
which included a fleet of private jets and a
stable full of champion racehorses, and by his
clandestine transport of South African gold to
Mekrouw Jo Van Gogh-Bonger, 1925, oil on canvas,
50 x 42 cm., Stedelijk Museum, Amsterdam.
avoid export restrictions, Fleming was allegedly
inspired to create the billionaire villain Auric
Goldfinger, Bond’s nemesis in the 1959 novel
Goldfinger. Engelhard found the tribute immensely
entertaining, and after the 1964 release of the
film starring Sean Connery, Engelhard began
calling one of the stewardesses on his jet “Pussy
Galore”. Engelhard’s wide circle of friends and
acquaintances also included members of the
Kennedy family and the South African diamond
magnate Harry Oppenheimer. In addition to the
Moulin de la Galette, Engelhard’s collection included
a number of other masterpieces, including
Edouard Manet’s The Kearsarge at Boulogne (1864)
and Pompeo Batoni’s Diana and Cupid (1761), both
now in the Metropolitan Museum of Art, New
York. Engelhard’s name is further memorialised
by the Charles Engelhard Court in the American
Wing of the museum, donated by his wife
Jane in his honour. A further six Impressionist
masterpieces from the Engelhard collection were
sold at Christie’s in 1996, including The Artist’s
Garden at Vetheuil and a Waterlilies, both by Monet.
Charles W. “Charlie” Engelhard Jr.., with his wife
Jane, Photograph.
C on c l u s ion
Ultimately, the time van Gogh spent in Paris was
brief, but the influences he had absorbed during
his time there were profound and lasting. Most
significant of all was his appreciation of the
power of vibrant colour, applied in the PostImpressionist manner in adjacent and contrasting
dots and lines. By turning his attention to the
windmills of Montmartre, van Gogh was joining
a tradition of great Impressionist and PostImpressionist masters in celebrating an iconic
image of Bohemian Paris. The vivacity and
exuberance of the Moulin de la Galette, coupled
with the rare signature, iconic subject-matter and
desirable provenance, make it one of the very
finest of the Paris paintings, and it is one of only
a few remaining in private ownership.
Goldfinger original poster, 1964
dickinson
We are very grateful to Louis Van Tilborgh, Leo Jansen, Teio
Meedendorp, and Monique Hageman at the Van Gogh Museum for
assisting with the research details of this picture.
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