128. Ibid.
129. Ibid, 52.
130. Ibid, 44.
131. Letter No. 814, Joseph Roulin to Vincent van Gogh, Marseille, October 24, 1889.
132. Letter No. 845, Jo Bonger to Vincent van Gogh, Paris, January 29, 1890.
133. Letter No. 845, Jo Bonger to Vincent van Gogh, Commentary, Paris, January 29, 1890, http://vangoghletters.org/vg/letters/let845/letter.html.
134. Ibid.
135. “The Red Vineyard,” accessed January 1, 2016, http://annaboch.com/theredvineyard/.
136. Ibid.
137. Frances Spalding, “How Van Gogh’s Sunflowers Came into Bloom,” The Guardian, London, January 17, 2014, https://www.theguardian.com/books/2014/jan/17/how-van-gogh-sunflowers-bloom.
138. Ibid.
139. “The Red Vineyard,” accessed January 1, 2016, http://annaboch.com/theredvineyard/.
140. Letter No. 853, Vincent van Gogh to Albert Aurier, Saint Rémy deProvence, February 9–10, 1890.
141. Ibid.
142. Letter No. 868, Vincent to Theo van Gogh, Saint Rémy de Provence, May 4, 1890.
143. Letter No. 870, Vincent to Theo van Gogh, Saint Rémy de Provence, May 11, 1890.
144. Letter No. 872, Vincent to Theo van Gogh, Saint Rémy de Provence, May 13, 1890.
145. “Auvers,” Van Gogh: Paintings and Drawings, A Special Loan Exhibition, The Metropolitan Museum of Art (New York: Met Publications, 1949), 90.
146. “Vincent van Gogh & Auvers-sur-Oise,” accessed January 1, 2016, http://www.tfsimon.com/auvers-sur-oise.html.
147. Wouter van der Veen, Vincent van Gogh in Auvers, Institut Van Gogh, Amsterdam, January 2015, 3.
148. Letter No. 899, Vincent to Anna van Gogh-Carbentus and Willemien van Gogh, Auvers-sur-Oise, July 14, 1890.
149. Letter No. 902, Vincent to Theo van Gogh, Auvers-sur-Oise, July 23, 1890.
150. Ibid.
151. Simon Dickinson, Vincent Van Gogh: L’Enfant à l’Orange (London: Dickinson), 23, accessed January 5, 2016, https://www.tefaf.com/media/tefafmedia/Van%20Gogh%20booklet%20(7).pdf.
152. Ibid.
153. Chris Stolwijk and Han Veenenbos, The Account Book of Theo van Gogh and Jo Van-Gogh-Bonger, Van Gogh Museum, Amsterdam, 2002.
154. Andries Bonger, Catalogues des Oeuvres de Vincent Van Gogh, Van Gogh Museum, Amsterdam, accessed January 5, 2016, http://www.europeana.eu/portal/record/92034/GVNRC_VGM01_b3055.html.
155. Theo Van Gogh (Art Dealer), “Death,” World Heritage Encyclopedia.
156. Ibid.
157. “Gay Nineties,” Wikipedia, accessed January 9, 2016, https://en.wikipedia.org/wiki/Gay_Nineties.
158. Dickinson, Simon, Vincent van Gogh: Moulin De La Galette (London: Dickinson), 12.
159. Bogomila Welsh-Ovcharov, “Emile Bernard, an Extraordinary Collector of Vincent Van Gogh,” The Morgan Library online, New York, accessed January 9, 2016, http://www.themorgan.org/collection/vincent-van-gogh/letter/1/page/1.
160. “The First Publication of the Letters,” Van Gogh Museum Journal 2002, Van Gogh Museum, Amsterdam, 29.
161. Ibid.
162. Simon Dickinson, Vincent van Gogh: Moulin De La Galette (London: Dickinson), 12.
163. Ibid.
164. Simon Dickinson, Vincent van Gogh: Le Moulin d’Alphonse Daudet à Fontvieille, (London: Dickinson, June 1888), 29, accessed January 10, 2016, https://issuu.com/simoncdickinsonltd/docs/vg_final_issuu__2_.
165. Van Gogh Museum Journal 2002, Van Gogh Museum, Amsterdam, 125.
166. Ibid.
167. Van Gogh Museum Journal 2001, Van Gogh Museum, Amsterdam, 23.
168. Belinda Thompson, “Gauguin,” Thames & Hudson World of Art, New York, 1987, 36.
169. Colta Ives and Susan Alyson Stein, Exhibition, Vincent Van Gogh: The Drawings, The Metropolitan Museum of Art, Met Publications (New York: Van Gogh Museum, Amsterdam, Yale University Press, New Haven and London, 2005), 64.
170. Ibid, 65–66.
171. Ibid, 66.
172. “Portrait of Julien Leclercq and His Wife,” accessed January 10, 2016, http://museum.cornell.edu/collections/prints-drawings/19th-century-drawings/portrait-julien-leclercq-and-his-wife.
173. Beth Saulinier, “Eye of the Beholder,” Cornell Magazine, Ithaca, New York, June 1998, 36.
174. Anteneum Banafsheh Ranji, “The Heart and Soul of Finnish Art,” Helsinki Times, Finland, February 14, 2013.
175. “Exposition Universelle,” accessed January 10, 2016, http://www.expomuseum.com/1900/.
176. C. Homburg, The Insane Artist or Genius at his Best: Vincent van Gogh, Case in Point, Translated Google, University of Groningen Press, Netherlands, 1990, 85.
177. “Sorting out the Sunflowers,” Editorial ArtNews.com, November 1, 2007, accessed January 10, 2016, http://www.artnews.com/2007/11/01/top-ten-artnews-stories-sorting-out-the-sunflowers/.
178. Ibid.
179. “Vincent van Gogh,” Artble, accessed January 10, 2016, http://www.artble.com/artists/vincent_van_gogh.
180. Born and Landais, Schuffenecker’s Sunflowers and Other Van Gogh Forgeries, 189.
181. Cynthia Saltzman, Portrait of Dr. Gachet: The Story of a Van Gogh Masterpiece, Money, Politics, Collectors, Greed, and Loss (New York: Penguin, 1999), p.9.
182. Charles S. Moffett, The Passionate Eye, Vincent van Gogh 1853–1890, No. 62, Wheat Field with Cypresses, June 1889, Zurich, Artemis, 1990.
183. Sotheby’s Impressionist & Modern Art Evening Sale, New York, May 5, 2015, http://www.sothebys.com/en/auctions/ecatalogue/2015/impressionist-modern-art-evening-sale-n09340/lot.18.html.
184. “Die Seine mit der Pont de Clichy,” accessed January 10, 2016, https://commons.wikimedia.org/wiki/File:Van_Gogh_-_Die_Seine_mit_der_Pont_de_Clichy.jpeg.
185. “Prisoners Exercising (After Doré),” accessed January 10, 2016, http://www.vggallery.com/painting/p_0669.htm.
186. “Wheat Field with Cypresses,” Metropolitan Museum of Art, accessed January 12, 2016, http://www.metmuseum.org/collection/the-collection-online/search/436535?=&imgno=0&tabname=object-information.
187. Beth Saulinier, “Eye of the Beholder,” Cornell Magazine, Ithaca, New York, June 1998, 40.
188. Walter Felichenfeldt, “Van Gogh Fakes: The Wacker Affair, with an Illustrated Catalogue of the Forgeries,” accessed January 10, 2016, http://www.vggallery.com/misc/fakes/wacker.htm.
189. Van Gogh Museum Journal 2001, Amsterdam, 2001, 17.
190. Ibid, 20.
191. Ibid, 30.
192. Ibid, 37.
193. Born and Landais, Schuffenecker’s Sunflowers and Other Van Gogh Forgeries, 335.
194. Jeanne Willet, “History of the Avant-Garde (Part 14): The German Art Dealers of the Avant-Garde,” Heatherwood Institute and Press, accessed January 12, 2016, http://www.heathwoodpress.com/history-of-the-avant-garde-part-14-the-german-dealers-of-avant-garde-art/.
195. “Biography: Paul Cassirer,” JewishVirtualLibrary.com, accessed January 12, 2016, https://www.jewishvirtuallibrary.org/jsource/judaica/ejud_0002_0004_0_04037.html.
196. Ibid.
197. “Guide to the Cassirer collection, 19061933,” Department of Special Collections, Green Library, Stanford University Libraries, Palo Alto, California, 1999, accessed January 12, 2016, http://www.oac.cdlib.org/findaid/ark:/13030/tf538nb0pb/entire_text/.
198. Johanna van Gogh-Bonger, Memoir of Johanna Gesina van Gogh-Bonger, Amsterdam, 1910, accessed January 12, 2016, http://www.webexhibits.org/vangogh/memoir/nephew/5.html.
199. “Paul Cassirer,” Wikipedia, accessed January 12, 2016, https://en.wikipedia.org/wiki/Paul_Cassirer.
200. “A Chronology of Vincent van Gogh’s Life, Art, and Early Critical Reception,” accessed January 12, 2016, http://www.clevelandart.org/sites/default/files/documents/exhibition-catalogue/6_Chronology.pdf.
201. Jeanne Willet, “History of the Avant-Garde (Part 14): The German Art Dealers of the Avant-Garde,” Heatherwood Institute and Press, accessed January 12, 2016, http://www.heathwoodpress.c
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202. Ibid.
203. “A Chronology of Vincent van Gogh’s Life, Art, and Early Critical Reception,” accessed January 12, 2016, http://www.clevelandart.org/sites/default/files/documents/exhibition-catalogue/6_Chronology.pdf.
204. Johanna van Gogh-Bonger, Memoir of Johanna Gesina van Gogh-Bonger, Amsterdam, 1910, http://www.webexhibits.org/vangogh/memoir/nephew/5.html.
205. Grisebach, “Towards ‘The Potato Eaters’ on the Importance of the Brabant Portraits in Vincent van Gogh’s Oeuvre,” Auction 4 June 2015, Lot Vincent van Gogh, Groot-Zundert, 1853–1890 Auvers-sur-Oise.
206. “A Chronology of Vincent van Gogh’s Life, Art, and Early Critical Reception,” accessed January 12, 2016, http://www.clevelandart.org/sites/default/files/documents/exhibition-catalogue/6_Chronology.pdf.
207. Claude-Emile Schuffenecker, “Artworks,” The Athenaeum, accessed January 12, 2016, http://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=409.
208. “Wheat Field with Cypresses,” Metropolitan Museum of Art, accessed January 12, 2016, http://www.metmuseum.org/collection/the-collection-online/search/436535?=&imgno=0&tabname=object-information.
209. “Louis-Alexandre Berthier,” Wikipedia, accessed January 12, 2016, https://en.wikipedia.org/wiki/Louis-Alexandre_Berthier.
210. “A Wheatfield, with Cypresses,” PubHist, accessed January 12, 2016, https://www.pubhist.com/w6382.
211. “Octave Mirbeau,” Wikipedia, accessed January 12, 2016, https://en.wikipedia.org/wiki/Octave_Mirbeau.
212. “Irises,” J. Paul Getty Museum, accessed January 12, 2016, http://www.getty.edu/art/collection/objects/826/vincent-van-gogh-irises-dutch-1889/.
213. Octave Mirbeau, “Artists,” accessed January 12, 2016, http://www.vggallery.com/misc/archives/mirbeau.htm.
214. “A Wheatfield, with Cypresses,” PubHist, accessed January 12, 2016, https://www.pubhist.com/w6382.
215. Ibid.
216. Van Gogh Letters, “Cypresses,” accessed January 12, 2016, http://vangoghletters.org/vg/search/simple?term=cypresses.
217. Born and Landais, Schuffenecker’s Sunflowers and Other Van Gogh Forgeries, 193.
218. Michael Kaplan, “Inside the $80 Million Scam that Rocked the Art World and Hits Court This Week,” New York Post, January 24, 2016.
219. Born and Landais, Schuffenecker’s Sunflowers and Other Van Gogh Forgeries, 330.
220. http://www.art-antiques-design.com/authors/2:robertalexanderboyle. Accessed January 14, 2016.
221. Louis Van Tilborgh, et. al, “Weave Matching and Dating of Van Gogh’s Paintings: An Interdisciplinary Approach,” The Burlington Magazine, Vermont, February 2012, 112–122, accessed July 20, 2013, http://people.ece.cornell.edu/johnson/tilborgh_2012.pdf.
222. Van Gogh Museum Journal 2001, Amsterdam, 44–45.
223. Ibid, 45.
224. Born and Landais, Schuffenecker’s Sunflowers and Other Van Gogh Forgeries, 311–12.
225. Alan Riding, “Fearing a Big Flood, Paris Moves Art,” New York Times, February 19, 2003.
226. “Musée d’Orsay,” Wikipedia, November 29, 2015, https://en.wikipedia.org/wiki/Musée_d%27Orsay.
227. Alan Riding, “Fearing a Big Flood, Paris Moves Art,” New York Times, February 19, 2003.
228. Gallery Barbazanges, Paris, “History,” accessed January 17, 2016, http://www.kubisme.info/kt271.html.
229. “Galerie Barbazanges,” Wikipedia, February 6, 2016, https://en.wikipedia.org/wiki/Galerie_Barbazanges.
230. Gallery Barbazanges, Paris, “History,” accessed January 17, 2016, http://www.kubisme.info/kt271.html.
231. Findlay Galleries, blog, Chagall and the Circle of Jewish Painters of the 20th Century.
232. Earl A. Powell III, “Shedding New Light on ‘The Old Musician,’” National Gallery of Art Bulletin, “From the Director’s Desk,” Washington, DC, Fall 2009, 41:6.
233. Susan Alyson Stein and Asher Ethan Miller, The Annenberg Collection: Masterpieces of Impressionism and Post-Impressionism, Metropolitan Museum of Art, Met Publications (New York: Yale University Press, New Haven and London, 2009), 211.
234. Hubert Van den Berg, Editor, et. al, A Cultural History of the Avant-garde in the Nordic Countries 1900–1925, Editions Rodopi B.V., Amsterdam, New York, 2012, 201.
235. Ibid.
236. Ibid.
237. “Storm Women. Women Artists of the Avant-Garde in Berlin, 1910–1932,” Art History News, November 13, 2015. http://arthistorynewsreport.blogspot.com/2015/11/storm-women-women-artists-of-avant.html.
238. Moses Mendelssohn, https://www.jewishvirtuallibrary.org/jsource/biography/Mendelssohn.html.
239. Ibid.
240. Michael Levitin, “Berlin Bind: Between Neo-Nazis and Mendelssohn,” Forward.com/Culture, December 10, 2004, accessed January 17, 2016, http://forward.com/culture/3972/berlin-bind-between-neo-nazis-and-mendelssohn/.
241. Julius H. Schoeps, Wikipedia, Google Translated, accessed September 30, 2013, https://translate.google.com/translate?hl=en&sl=de&u=https://de.wikipedia.org/wiki/Julius_H._Schoeps&prev=search.
242. Alan Feuer, “A Lawsuit Will Determine the Fate of 2 Picassos,” New York Times, December 18, 2007.
243. “The Supreme Court won’t hear an appeal from descendants of famed composer Felix Mendelssohn who want the German officials to return a valuable Pablo Picasso painting that was subject to forced transfer under the Nazi regime,” Associated Press, Washington, DC, January 19, 2016.
244. Michael Sontheimer, “Art Restitution and Picasso: One Jewish Family’s Battle with a Munich Museum,” Das Spiegel, Germany, October 18, 2011.
245. Michael Levitin, “Berlin Bind: Between Neo-Nazis and Mendelssohn,” Forward.com/Culture, December 10, 2004, accessed January 17, 2016, http://forward.com/culture/3972/berlin-bind-between-neo-nazis-and-mendelssohn/.
246. Angelina Giovani, “Happy birthday, Vincent van Gogh! Part Two,” Plundered Art blog, May 25, 2015, http://plundered-art.blogspot.com/2015/05/happy-birthday-vincent-van-gogh-part-two.html.
247. Johanna Van Gogh-Bonger, Johanna, Memoir of Johanna Gesina van Gogh-Bonger, Amsterdam, 1910, http://www.webexhibits.org/vangogh/memoir/nephew/5.html.
248. Ibid.
249. Angelina Giovani, “Happy birthday, Vincent van Gogh! Part Two,” Plundered Art blog, May 25, 2015, http://plundered-art.blogspot.com/2015/05/happy-birthday-vincent-van-gogh-part-two.html.
250. “Biography: Paul Cassirer,” JewishVirtualLibrary.com, https://www.jewishvirtuallibrary.org/jsource/judaica/ejud_0002_0004_0_04037.html.
251. M. Rae Nelson, “Authentic or Not: Chemistry Solves the Mystery,” ChemMatters magazine, April 2011.
252. Ibid.
253. J. L. Dolice, blog, Fabulous Fakes and A History of Art Forgery, 2003.
254. Stefan Koldehoff, The Wacker Forgeries: A Catalogue, Van Gogh Museum Journal 2002, Amsterdam, 139.
255. “German Presidential Election, 1932,” accessed January 18, 2016, https://en.wikipedia.org/wiki/German_presidential_election,_1932.
256. “AntiJewish Legislation in Prewar Germany,” US Holocaust Memorial Museum.
257. Kevin Koeninger, “Heirs Sue Bavaria for Nazi-Looted Picasso,” CourtHouseNews.com, March 29, 2013.
258. Fritz Kempner, Looking Back, self-published, Maine, 2006, 98–99.
259. Judith H. Dobrzynski, “Tracing a van Gogh Treasured by the Met,” New York Times, February 11, 1998.
260. “Independent Commission of Experts Switzerland—Second World War,” Final Report, Zurich, 2002, 202.
261. Ibid, 40.
262. Alexandrine de Rothschild, Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume, http://www.errproject.org/jeudepaume/card_view.php?CardID=12737
263. Ibid.
264. Erin Gibbons, The Hunt Controversy: A Shadow Report (Paris: The Simon Wiesenthal Centre, 2002), 63–65.
265. Ibid, 64–65.
266.
Kenneth D. Alford, Hermann Goring and the Nazi Art Collection: The Looting of Europe’s Art Treasures and Their Dispersal After World War II (New York: McFarland & Co, 2013), 116.
267. ”Independent Commission of Experts Switzerland—Second World War,” Final Report, Zurich, 2002, 350.
268. Frank Mecklenburg, et al., “Guide to the Fritz Nathan (1891–1960) Collection, 1914–2000,” Leo Baeck Institute, Center for Jewish History, New York, 2004.
269. Archive of the Foundation E.G. Bührle Collection, Zurich, www.buehrle.ch.
270. Susan Alyson Stein and Asher Ethan Miller, The Annenberg Collection: Masterpieces of Impressionism and Post-Impressionism, Metropolitan Museum of Art, Met Publications (New York: Yale University Press, New Haven and London, 2009), 211.
271. Judith H. Dobrzynski, “Tracing a van Gogh Treasured by the Met,” New York Times, February 11, 1998.
272. U.S. War Department, “ALIU Detailed Interrogation Report: Hans WENDLAND,” Washington, DC, September 18, 1946, 1.
273. Ibid, 3.
274. Ibid, 5.
275. Marianne Feilchenfeldt, “The Case for Theodor Fischer,” in a TV interview; she and her husband Walter left the head office of Paul Cassirer Gallery to Amsterdam in 1933.
276. Ibid, 8.
277. U.S. War Department, “ALIU Detailed Interrogation Report: Hans WENDLAND,” Washington, DC, September 18, 1946, 9.
278. Ibid, 11.
279. Ibid, 17–18.
280. Ibid, 22.
281. J. D. Bindenagel, “Message from the Editor,” Washington Conference on Holocaust-Era Assets Proceedings, Washington, DC, February 19, 1999.
282. Holocaust Restitution: Washington Conference on Holocaust-Era Assets, Jewish Virtual Library, Washington, DC, November 30–December 3, 1998.
283. Oaklander, Mandy, “Matisse Painting Looted by Nazis Returned to Jewish Art Dealer’s Heirs,” Time, May 16, 2015.
284. Charles A. Goldstein, Restitution Experience Since The Washington Conference (1998), Counsel Commission for Art Recovery, Milan, Italy, June 23, 2011, 1.
285. “The Diggers,” http://www.dia.org/object-info/127f6f52–58cb-4381-a706-f649d1ee56e5.aspx.
286. Holocaust Era Assets Conference Proceedings, “Retaining van Gogh,” Prague, June 26–30, 2009, 803.
287. Ibid, pp. 750–751.
288. “Washington Conference on Holocaust-Era Assets,” US State Dept. and the US Holocaust Memorial Museum, Washington, DC, November 30 to December 3, 1998, 554.
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