museums and institutions:
Attributed works:
1. Jan Cornelis Traas at work on Girl with a pearl earring, by Johannes
Vermeer, in the Mauritshuis, The Hague. 1960. Photograph. (Royal
Picture Gallery Mauritshuis, The Hague).
Attributed works:
10. Photograph of Fig.9 recording its damaged condition prior to
the 1927 restoration by Traas. (Photograph Bernard F. Eilers; from
W. Scherjon and W. Jos de Gruyter: Vincent van Gogh’s great
period. Arles, St. Rémy and Auvers sur Oise, Amsterdam 1937).
Attributed works:
11. The bedroom at Arles, by Vincent van Gogh. 1888. Oil on canvas, 72.4
by 91.3 cm. Photographed after the 2009–10 treatment when Traas’s old
varnish and retouches were removed. The originally pale violet walls and
lilac doors described by the artist are now light blue, owing to the fading
of a red cochineal lake in the paint mixture used. (Van Gogh Museum,
Amsterdam; Vincent van Gogh Foundation).
Attributed works:
12. Digital visualisation providing an impression of the original colours of
Fig.11. (Van Gogh Museum, Amsterdam; Vincent van Gogh Foundation).
Attributed works:
13. Vishwa R. Mehra making a condition report on the Van Gogh
collection. 1984. Photograph. (Van Gogh Museum, Amsterdam,
Vincent van Gogh Foundation).
Attributed works:
14. Self-portrait with grey felt hat, by Vincent van Gogh. 1887.
Oil on canvas, 44.5 by 37.2 cm. Shown after it was vandalised in 1978.
(Van Gogh Museum, Amsterdam; Vincent van Gogh Foundation).
Attributed works:
2. Willem J. Steenhoff in the Van Gogh Gallery of the Rijksmuseum,
Amsterdam, with The potato eaters (F82) in the background. 1918. Photograph.
(Van Gogh Museum, Amsterdam; Vincent van Gogh Foundation).
Attributed works:
3. Living room of Jo van Gogh-Bonger’s house in Brachthuyzerstraat,
Amsterdam, showing from left to right: The white orchard (F403);
The pink peach tree (F404); and The pink orchard (F555). c.1917.
Photograph Thijs Quispel. (Van Gogh Museum, Amsterdam; Vincent
van Gogh Foundation).
Attributed works:
4. Diagram of the Dutch method of wax-resin lining; in this case
the original and lining canvases are enlarged with paper strips
adhered to the edges, rather than the canvas strips sewn on by
Traas, enabling the canvases to be stretched on wooden looms
during lining. (From S. Cursiter and A.M. de Wild: ‘Picture relining’,
in Technical Studies in the Field of Fine Arts 5 (1937)).
Attributed works:
5. Relining of Van Gogh’s Railway bridge over Avenue Montmajour,
Arles (F480; whereabouts unknown), showing the preparation of the
sawdust bed on which the painting is laid face downwards for lining
without a hot table, by ironing, using ‘an elaborate insulation with tin foil
and a sawdust bedding’ to protect the high impasto. Photograph, taken
probably in Helmut Ruhemann’s studio in Berlin c.1932. (From Manual
on the Conservation and Restoration of Paintings, Paris 1940).
Attributed works:
6. Field with irises near Arles, by Vincent van Gogh. May 1888.
Oil on canvas, 54 by 65 cm. (Van Gogh Museum, Amsterdam;
Vincent van Gogh Foundation).
Attributed works:
7. Fig.6 photographed in raking light after the removal of the
varnish in 2014–15.
Attributed works:
8. Enlarged detail of Fig.6, showing canvas weave impressed in
the flattened impasto from rolling and sending the painting to
Theo van Gogh.
Attributed works:
9. An old woman of Arles, by Vincent van Gogh. 1888. Oil on canvas,
58 by 42 cm., showing the corners filled with putty and an even tone.
(Van Gogh Museum, Amsterdam; Vincent van Gogh Foundation).
