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Is Van Gogh hiding at the back of this Toulouse-Lautrec drawing?


Henri de Toulouse-Lautrec’s The Refrain of the Louis XIII-style Chair at the Cabaret of Aristide Bruant (1886), 78cm x 50cm, with Van Gogh circled
Courtesy of Hiroshima Museum of Art
Although we know Van Gogh so well from his 36 painted self-portraits, depictions of him by other artists are rare. We can now add another from no less a hand than his friend Henri de Toulouse-Lautrec, the lover of Montmartre nightlife. This drawing is now in the collection of the Hiroshima Museum of Art.
Vincent is the small caricatured figure at the very back, just to the left of the pillar. He has a beard, moustache and a tuft of hair on his forehead. Although normally dressed shabbily, here Van Gogh appears smartly attired, with a tie and hat. ....

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A lost Van Gogh self-portrait had the most extraordinary frame that included his much-loved sunflowers—here it is reconstructed


Vincent van Gogh’s The Artist on the Road to Tarascon (August 1888)
Courtesy of the Kulturhistorisches Museum Magdeburg (inventory GK 558, St 29)
A few weeks ago we told the story of the Van Gogh self-portrait that was hidden in a salt mine in central Germany to protect it from bombing raids during the Second World War. In 1945, the Magdeburg museum’s painting of
The Artist on the Road to Tarascon (1888)
is believed to have been destroyed by a fire nearly a kilometre underground although it is possible that it was looted and could still survive. Fortunately, it was one of the relatively few Van Gogh paintings that were photographed in colour before the war. ....

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Why the Van Gogh Museum might never have existed—new research reveals how the family collection was nearly sold off


Engagement photograph of Helene Müller and Anton Kröller (1887-88)
Courtesy of the Kröller-Müller Museum, Otterlo
A wealthy shipping tycoon wanted to buy up the entire Van Gogh family collection in 1911. Had the “unlimited” offer been accepted, the Van Gogh Museum would never have been established. The astonishing story of this “spectacular bid” is revealed in an article by museum researcher Roelie Zwikker.
Zwikker discovered that in 1911 the art dealer Johannes de Bois, based in The Hague, had been approached by a collector who gave him an “almost unlimited mandate” to buy all the Van Goghs which remained in the family collection, which was then administered by Vincent’s sister-in-law Jo Bonger. ....

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