ENDNOTES
1. Western European Report, Switzerland. Foreign Broadcast Information Service, April 10, 1987: 53–59.
2. Ibid.
3. Ibid.
4. Ibid.
5. Ibid.
6. Ibid.
7. John F. Burns, “Scandal Imperils Mulroney’s Hold,” Special to the New York Times, January 25, 1987.
8. Hanspeter Born and Benoit Landais, Schuffenecker’s Sunflowers and Other Van Gogh Forgeries, Self-published, Switzerland, 2014.
9. “Marietta Gets $1.7 billion Army Contract,” Associated Press, Washington, DC, December 1, 1987.
10. René Elvin, “Collector Extraordinary: The Bührle Collection and the New Zurich Kunsthaus,” Studio Magazine, Zurich, Vol. 158: 50–4, August 1959. File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
11. Ibid.
12. Ibid.
13. Hortense Anda-Bührle, Letter to Charles S. Moffett, National Gallery of Art, October 30, 1987. File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
14. Charles Moffett, NGA Memorandum to Director J. Carter Brown, June 3, 1988. File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
15. Ibid.
16. Ibid.
17. J. Carter Brown, NGA Letter to Hortense Anda-Bührle, June 7, 1988. File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
18. Ibid.
19. J. Carter Brown, Memorandum for the File, June 15, 1988. File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
20. Ibid.
21. Charles Moffett, The Passionate Eye, Vincent van Gogh 1853–1890, No. 62, Wheat Field with Cypresses, June 1889, Essay, Zurich, Artemis, 1990.
22. Frances P. Smyth, Memorandum for the File, February 13, 1983. File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
23. Ibid.
24. Ibid.
25. 1990 Annual Report, National Gallery of Art, Washington DC, 1990, 82.
26. Frances P. Smyth, Memorandum of Telephone Conversation, “Bührle Exhibition,” February 13, 1989. File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
27. Elizabeth A. C. Weil, Memorandum to Martin Marietta, “Notes from Our Meeting,” NGA Corporate Relations, September 11, 1989. File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
28. “Collections,” accessed December 10, 2015, http://www.sunnylands.org/page/20/art-collection.
29. Rita Reif, “Van Gogh’s ‘Irises’ for $53.9 Million,” New York Times, November 12, 1987.
30. Tim Kane, “The Passionate Collectors and the Billion‐Dollar Gift (fourth in an eight-part series),” Palm Springs Life, Palm Springs, May 2011.
31. Brochure. File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
32. Neil Harris, Capital Culture: J. Carter Brown, the National Gallery of Art, and the … (Chicago: University of Chicago Press, 2013) 426–27.
33. Ibid.
34. “Walter Annenberg Study Archive,” accessed December 12, 2015, http://www.jewwatch.com/jew-leaders-annenberg-walter.html.
35. J. Carter Brown, Memorandum to Ruth Kaplan, NGA External Information Officer, April 30, 1990. The Passionate Eye Exhibit Files, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
36. Ibid.
37. Ibid.
38. Ibid.
39. Ibid.
40. Ibid.
41. “Times Appoints Chief Art Critic,” New York Times, January 11, 1990.
42. Press Facts, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
43. Hortense Anda-Bührle, Press Breakfast Speech, The Passionate Eye Exhibit File, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
44. Richard Sanders, “Merchants of Death Conference,” Peace Magazine, Vol. 05, No. 6, November 1989: 8.
45. Michael Kimmelman, “ART VIEW; Was This Exhibition Necessary?” New York Times, May 20, 1990.
46. Ibid.
47. Ibid.
48. Ibid.
49. Charles Moffett, Memorandum to Files, “Re: Kimmelman/ Bührle Collection.” File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
50. Ibid.
51. J. Carter Brown, Memorandum to the Art and Education Committee of the Trustees, “Re: Kimmelman Piece on Bührle Show.” File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
52. Arianem Gigon, “A New Look at Bührle Art Collection’s Shadowy Past,” SwissInfo.Ch, Zurich, October 9, 2015.
53. Piers Rodgers, “Letter to the Editor to New York Times,” Secretary Royal Academy of Arts, May 24, 1990. File Bührle, The Passionate Eye Exhibit, National Gallery of Art, Washington, DC, Gallery Archives, accessed December 2, 2015.
54. Neil Harris, Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience (Chicago, University of Chicago Press, 2013), 432.
55. Ibid.
56. Ibid, 432.
57. John Russell, “Annenberg Picks the Met for $1 Billion Gift,” New York Times, March 12, 1991.
58. Ibid.
59. Walter H. Annenberg obituary, accessed December 15, 2015, http://articles.philly.com/2002–10–02/news/25353073_1_art-collector-pneumonia-museums.
60. Michael Kimmelman, “ART VIEW; From Strength to Strength: A Collector’s Gift to the Met,” New York Times, June 2, 1991.
61. Michael Kimmelman, “Annenberg Donates a van Gogh to the Met,” New York Times, May 25, 1993.
62. “The Art of the Deal,” accessed December 15, 2015, http://krieger.jhu.edu/magazine/F05/pages/alumni_mazoh.htm.
63. Michael Kimmelman, “Annenberg Donates a van Gogh to the Met,” New York Times, May 25, 1993.
64. Ibid.
65. Ibid.
66. Lukas Gloor, Emil G. Bührle Foundation, email to James O. Grundvig, November 13, 2013.
67. Letter No. 626, Vincent to Willemien van Gogh, Arles, June 20, 1888.
68. Letter No. 736, Vincent to Theo van Gogh, Arles, January 17, 1889.
69. Letter No. 728, Vincent to Theo van Gogh, Arles, January 2, 1888.
70. Ibid.
71. Letter No. 732, Vincent to Theo van Gogh, Arles, January 7, 1889.
72. Ibid.
73. F. Javier González Luque and A. Luis Montejo González, “Vincent van Gogh and the Toxic Colours of Saturn: Autobiographical Narrative of a Case of Lead Poisoning,” paper, University of Salamanca, 2004.
74. Ibid.
75. F. Javier González Luque and A. Luis Montejo González, “Vincent van Gogh and the Toxic Colours of Saturn: Autobiographical Narrative of a Case of Lead Poisoning,” paper, University of Salamanca, 2004.
76. Paul Wolf, Creativity and chronic disease Vincent van Gogh (18531890), University of California, San Diego, VA Medical Center, San Diego, BMJ Publishing Group, 2001.
77. http://vangoghletters.org/vg/documentation.html#id2September1889. Accessed December 20, 2015.
78. Letter No. 762, Theo to Vincent van Gogh, Paris, April 24, 1889.
79. Letter No. 769, Frédéric Salles Theo to Vincent van Gogh, Arles, May 5, 1889.
80. Letter No. 767, Theo to Vincent van Gogh, Paris, May 2, 1889.
81. Letter No. 776, Vincent to Theo Vincent van Gogh, SaintRémy, May 23, 1889.
82. Ibid.
83. Ibid.
84. Ibid.
85. Letter No. 777 Vincent to Theo van Gogh, Saint-Rémy, May 31, 1889.
86. Letter No. 773, Railway Postman Joseph Roulin to Vincent van Gogh, Marseille, May 13, 1889.
87. Letter No. 775, Railway Postman Joseph Roulin to Vincent van Gogh, Marseille, May 22, 1889.
88. Letter No. 777, Vincent to Theo van Gogh, Saint-Rémy, May 31, 1889.
89. “Vincent van Gogh Biography,” accessed December 22, 2015, http://www.biography.com/people/vincent-van-gogh-9515695#synopsis.
90. K. Shabi, “Starry Night: Meaning of the Vincent Van Gogh Landscape Painting,” Legomenon, June 3, 2013, http://legomenon.com/starry-night-meaning-of-vincent-van-gogh-painting.html.
91. Albert Boime, “Van Gogh’s Starry Night: A History of Matter and a Matter of History,” Arts Magazine, December 1984.
92. Ingo F. Walther and Rainer Metzger, Van Gogh: The Complete Paintings (Cologne, Germany: Taschen Bibliotheca Universalis, Original Edition 1990, 2015), 511.
93. Letter No. 783, Vincent to Theo van Gogh, Saint-Rémy, June 25, 1889.
94. Letter No. 797, Vincent to Theo van Gogh, Saint-Rémy, August 22, 1889.
95. Letter No. 784, Vincent to Theo van Gogh, Saint-Rémy, July 2, 1889.
96. Letter No. 782, Vincent to Theo van Gogh, Saint-Rémy, June 18, 1889.
97. Letter No. 784, Vincent to Theo van Gogh, Saint-Rémy, July 2, 1889.
98. Ibid.
99. Ibid.
100. Ibid.
101. Letter No. 785, Vincent to Willemien van Gogh, Saint-Rémy, July 2, 1889.
102. Ibid.
103. Letter No. 789, Vincent to Theo van Gogh, Saint-Rémy, July 14, 1889.
104. Letter No. 790, Vincent to Theo van Gogh, Saint-Rémy, July 14, 1889.
105. Letter No. 792, Theo to Vincent van Gogh, Paris, July 16, 1889.
106. D. W. Olson, “Vincent Van Gogh and Starry Skies Over France,” Celestial Sleuth: Using Astronomy to Solve Mysteries in Art, History and Literature (New York: Springer-Praxis, 2014), 54.
107. Ibid, 56–57.
108. Vincent Van Gogh and Colta Feller Ives, Vincent Van Gogh: The Drawings (New York: Met Publications, 2005), 316.
109. Ibid.
110. Ashlee Farraina, “Self-Portraits: Vincent Van Gogh #12,” February 21, 2011, accessed December 30, 2015, http://ashleemariesinspiration.blogspot.com/2011/02/self-portraits-vincent-van-gogh.html.
111. Letter No. 797, Vincent to Theo van Gogh, Saint-Rémy, August 22, 1889.
112. Ibid.
113. Ibid.
114. Letter No. 779, Vincent to Theo van Gogh, Saint-Rémy, June 9, 1889.
115. Eric Gelber, “Van Gogh: Drawing Media and Techniques,” Making a Mark Blog, February 22, 2007, accessed December 30, 2015, http://makingamark.blogspot.com/2007/02/van-gogh-drawing-media-and-techniques.html.
116. John Leighton, et al., “Vincent Van Gogh’s ‘A Cornfield, with Cypresses,’” National Gallery of Art, London, Technical Bulletin Vol. 11, 1987, 52.
117. Ibid, p. 57.
118. H. W. Janson, The Modern World: A Basic History of Art (New York: Harry N. Abrams, 1971), 308.
119. Letter No. 805, Vincent to Theo van Gogh, Saint-Rémy, September 20, 1889.
120. Letter No. 806, Vincent to Theo van Gogh, Saint-Rémy, September 28, 1889.
121. Ibid.
122. John Leighton, et al., “Vincent Van Gogh’s ‘A Cornfield, with Cypresses,’” National Gallery of Art, London, Technical Bulletin Vol. 11, 1987, 44.
123. The Vincent van Gogh Gallery, accessed January 1, 2016, http://www.vggallery.com/.
124. John Leighton, et al., “Vincent Van Gogh’s ‘A Cornfield, with Cypresses,’” National Gallery of Art, London, Technical Bulletin Vol. 11, 1987, 45.
125. Ibid.
126. Ibid.
127. Ibid, 49.
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.
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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.
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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.com/history-of-the-avant-garde-part-14-the-german-dealers-of-avant-garde-art/.
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.
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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.
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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.
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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/.
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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.
289. Ibid, p. 555.
290. Grace Glueck, “Art View; Painting Attribution Sparks an Uproar,” New York Times, April 4, 1982.
291. “Gary Tinterow Appointed Director of the Museum of Fine Arts, Houston,” http://www.prnewswire.com/news-releases/gary-tinterow-appointed-director-of-the-museum-of-fine-arts-houston-134914793.html.
292. M. Rae Nelson, “Authenticate or Not? Chemistry Solves the Mystery,” ChemMatters magazine, April 2001.
293. Caroline Von Saint-George, Vincent van Gogh—The Langlois Drawbridge, Brief Report on Technology and Condition. Wallraf das Museum, Cologne, Germany, 2008, 3.
294. Geert Van der Snickt, et al., “X-Rays Elucidate Color Change in Van Gogh Painting,” CNRS International Magazine, France, September 14, 2012.
295. Jia Li, et al., Rhythmic Brushstrokes Distinguish van Gogh from His Contemporaries: Findings via Automated Brushstroke Extraction, Institute of Electrical and Electronics Engineers, Piscataway, New Jersey, June 2012.
296. Louis Von Tilborgh, et al., “Weave Matching and Dating of Van Gogh’s Paintings: An Interdisciplinary Approach,” The Burlington Magazine, Vermont, February 2012, 113.
297. Caroline Von Saint-George, Vincent van Gogh—The Langlois Drawbridge, Brief Report on Technology and Condition. Wallraf das Museum, Cologne, Germany, 2008, 2.
298. Louis Von Tilborgh, et al., “Weave Matching and Dating of Van Gogh’s Paintings: An Interdisciplinary Approach,” The Burlington Magazine, Vermont, February 2012, 112.
299. James O. Grundvig, “Knoedler Scandal Head Fake, NY Times Swallows the Bait,” The Epoch Times, August 30, 2013.
300. Ibid.
301. Ibid.
302. Martin Bailey, “At least forty-five Van Goghs may well be Fakes,” The Art Newspaper, No. 72, July-August 1997, accessed September 30, 2013, http://www.vggallery.com/misc/fakes/fakes2.htm.
303. David L. Grossvogel, Behind the Van Gogh Forgeries: A Memoir (New York: Authors Choice Press, 2001), 53.
304. Louis Van Tilborgh, Van Gogh Museum Press Release, “Louis Van Tilborgh,” Amsterdam, December 11, 2014.
305. Ibid.
306. Farah Nayeri, “Van Gogh Work Missing for Century on Show in Amsterdam,” Bloomberg News, September 9, 2013.
307. Michael Brenson, “Art View; The Faces That Haunt Van Gogh’s Landscapes,” New York Times, January 4, 1987.
308. Michael Brenson, “‘Van Gogh’ at the Metropolitan: Portrait of the Triumphant Artist,” New York Times, November 28, 1986.
309. Richard Bernstein, “Nazis and Their Allies in Art Theft,” New York Times, June 18, 1997.
310. Lana Smiley, “The Top Art Projects Applying Blockchain,” Altcoin Today, January 4, 2016, accessed January 24, 2016, http://www.altcointoday.com/top-art-projects-applying-blockchain/.
311. Alexander Boyle, “‘Priceless’ Evening at the Frick Collection, Agent Robert Wittman on Art Theft,” Art Blog, May 2, 2014, http://www.art-antiques-design.com/art/384-priceless-evening-at-the-frick-collection-agent-robert-wittman-on-art-theft.
312. Yessi Bello Perez, “How Blockchain Tech is Inspiring the Art World,” Coindesk, May 14, 2015, http://www.coindesk.com/blockchain-technology-inspiring-art/.
313. John Ward Anderson, John Ward, “Paintings by Four Masters Stolen in Zurich,” Washington Post, February 12, 2008.
314. Ibid.
315. “Recovered Cezanne Authenticated by Swiss Art Expert,” BBC online, April 13, 2012, http://www.bbc.com/news/entertainment-arts-17702198.
316. Lucia Foulkes, “The Art of Atonement: How Mandated Transparency Can Help Return Masterpieces Lost During World War II,” 38 B.C. Int’l & Comp. L. Rev. 305 (2015), http://lawdigitalcommons.bc.edu/iclr/vol38/iss2/6
