During their lives, famous impressionists like Vincent van Gogh, Manet, Monet and Cezanne, were ostracized and many times had to trade their artworks for some food or a night’s lodging. In this way many pieces have seemed to be lost forever. In the case of Van Gogh, perhaps even hundreds.

Vanrijngo say;  They say in this way perhaps many pieces have seemed to be lost forever?  In the case of Van Gogh, perhaps even hundreds?  Well,.. guess again my art loving friends,.... just may be in the thousands, considering one left behind when heading to new ground, or being locked out for non-payment of rents to his landlords!  Open your Vincent van Gogh books and read for yourselves, in his letters, how he was know by his acquaintances,... how he was too paint and do his drawings. His works of art in the collection of The Vincent Van Gogh Foundations is very minuet too what he would have actually have done over the span of the thirty seven years of his life on this planet.

Goupil and Van Gogh

Just read this,... and try and make sense of it. They say his "Uncle Cent", as he was called by his nephews Vincent and Theo, moved to Paris in 1858 and took residence at 9 Rue Chaptal, which housed Goupil's head quarters.  In 1861, he became partner of Goupil & Cie, but retired in 1872, due to his degrading health, to settle in Princenhage for the summers and in Menton for the winters. Six years later, he definitely withdrew his shares they say, but who knows for sure with all the myths and lies that have been told mostly to coincide with Vincent's art and life.

As Uncle Cent had no children, his nephews were evidently supposed to follow him up in the firm: They say Vincent entered in 1869,... but I believe he was actually 14 at the time he first went to work there, which would have made the date 1867, while his younger brother Theo entering in 1873 approximately 5 years later. When Vincent, in 1876, was sacked by Léon Boussod, the balance between the shareholders suffered - and so Theo got his chance. Called to the Paris office for the time of the World Fair 1878, he was offered to stay in Paris, and finally entrusted with the direction of the branch on Boulevard Montmartre. I don't know about you,... but I would only guess,... somewhere along this line of chances from his uncle Cent and the partners, Vincent got a royal screwing out of his associations with these so-called professional MFA colleagues.

In these years, Vincent took up his vocation and began to study art, based on the "Cours de dessin", compiled by Charles Bargue "in collaboration with J.-L. Gérôme" and edited by Goupil & Cie, 1868-1873. In 1880, he asked his former director Tersteeg, at Goupil's in The Hague, to lend him a copy, which he finally received with the support of his brother Theo.  Isn't it amazing that this was published in the years that Vincent himself was among their employees, studying the exact same things based on the "Cours de dessin", compiled by Charles Bargue "in collaboration with J.-L. Gérôme" and edited by Goupil & Cie, 1868-1873 the exact same time of his employment. three years before Vincent's own departure from that organization. 

What exactly was Vincent's duties while working for this art organization for almost ten years of his life, as he was transferred from one branch to the next.  From reading all that had been said and written, you would think that he was just their janitor and chief window washer.  Sure he did all of these things, especially since asshole like his counter parts such as his jealous former director Tersteeg, the supposed educated asshole who had caused most all of Vincent's problems within that organization and Vincent's own family did all that was possible to ridicule and belittle him  If you knew the real reasons why Vincent was sacked as they call it, was because Vincent was interfering with there monstrous sales of prints that was the hot commodity of that day, mostly prints and copied works of art from other artists that Vincent knew personally was going on in their art establishment,... and believe it or not,... the same things are still going on this day and age all the while original artists getting screwed out of their royalties.  You can read some of it for yourselves if you can understand what is being said in one of Vincent supposed last letters to his brother Theo, the art dealer. 

My dear brother,

Thanks for your kind letter and for the 50 fr. note it contained

There are many things I should like to write you about, but I feel it is pointless. I hope you have found these gentlemen favorably disposed toward you.

Your reassuring me as to the state of peace of your household was not worth the trouble, I think, having seen the other side of it for myself. And I quite agree with you that rearing a boy on a fourth floor is a hell of a job for you as well as Jo.

Since it is going well, which is the main thing, I should insist on things of less importance. My word, before we have a chance of talking business more calmly, there is probably a long way to go. That is all I want to say, that I noted it with a certain fright and I cannot hide it. But that is all there is to it.

The other painters, whatever they think of it, instinctively keep themselves at a distance from discussions about actual trade.

Well, the truth is, we cannot speak other than by our paintings. But still, my dear brother, there is this that I have always told you, and I repeat it once more with all the earnestness that can be imparted by an effort of a mind diligently fixed on trying to do as well as one can - I tell you again that I shall always consider that you are something other than a simple dealer in Corots, that through my mediation you have your part in the actual production of some canvases, which even in the cataclysm retain their calm.

For this is what we have got to, and this is all or at least the chief thing that I can have to tell you at a moment of comparative crisis. At a moment when things are very strained between dealers in paintings by dead artists, and living artists.

Well, my work to me, I risk my life on it, and my reason has half foundered - all right - but you are not one of those dealers in men, as far as I know, and you can take sides, I find, truly acting with humanity, but what is the use?

No,... this was not Vincent van Gogh's last letter to his brother Theo van Gogh even though Jo's note: 'This letter, evidently his penultimate one to Theo, was found on Vincent's body after his suicide on the 27th. There is a note at the top in Theo's handwriting on it: “Letter he was carrying on him July 29”'. [In fact, it has been said it is obviously a rough draught of letter 651].

Some things of this nature, the sales of many copies, a person would think would be the cause and reasons for the original to be worth so much more, when a single art piece selling many copies and becoming so popular, that most everyone would be sure to recognize it and know that the one owning the original,.... owned the real gold. Wasn't something like this originally started and originated by artists such as Durer and Rembrandt?

Vincent wanted to promote the artists by selling their originals works of art which was done with artistic goals in mind, and the one which would be good art investments down the road for the art connoisseurs and art purchasers. This was a no no, for the most profit was not in paying the artists their fair share, but to make most all the profit for the galleries was by selling many copies and hanging on to the originals for themselves. 

 By 1960 Jelle Taeke de Boer accumulated nearly 400 works, 100 of which he attributed to Van Gogh. A close friend recommended that he open his gallery to the public. On June 11, 1966, he opened the doors to what he called the "Galerie d'Art" in Amsterdam. From that exposition Andrew Brainerd, an American lawyer, bought four paintings which were proven to be authentic master pieces. “The Bacchanale” from Purvis de Chevannes, “Dans le Foret” from Monticelli, “L’Homme a Table” from Toulouse-Lautrec and finally the top piece, the “Infanta Margarita” from Manet. Mr. Brainerd has since spent 35 years to have these examined and authenticated as the priceless copy made by Edouard Manet. In December of 2003, the international acknowledgement of the Infanta painting was again substantiated by an article in the Journal of the American Institute for Art Restoration and Preservation.

Swiss confiscation

http://s95.photobucket.com/albums/l136/vanrijngo/

Jelle Taeke De Boer

Just click on any of these small pictures outlined in blue and it should take you to more of his collection that I had saved in my picture before they removed them all.

In July of 1967, Jelle Taeke de Boer showed 200 of his best works in the Hofgalerie in Lucerne, Switzerland. The Swiss art establishment filed a complaint on suspicion of fraud. After several weeks of headlines and television reports, the police decided to confiscate the entire collection. Hofgalerie's owner Anton Achermann was arrested and put in jail – in solitary confinement. All works were removed in order to be destroyed as fakes. Jelle de Boer was never allowed to see his collection again and he died of a heart attack in 1970, 62 years of age. Anton Achermann’s business and his name had been ruined by his confinement, and he decided to spend the rest of his life fighting against injustice. Achermann succeeded in releasing approximately 180 works. 21 works were to remain in the Palace of Justice till June 2002.

Vanrijngo says;  I really hate to inform all of you,... most all these links and articles  have been taken off the WW-web and links have been destroyed. They couldn't get there original job done of destroying the works of art that was confiscated in Lucerne so they eventually had to release them. What a damn shame of these so-called MFA people who caused this art collector to die of a heart attack at the young age of 62.

External links

• Official Home Page
• Documentary-film on Jelle Taeke de Boer