My dear Theo,
You will already have received my letter of this morning, in
which I enclosed the 50-fr. note for Bing, and there is still
more I want to write you about this Bing business! The point is
that we do not know enough about Japanese prints.
Fortunately we know more about the Japanese of France, the
So Japanese art proper, already interred in collections,
already impossible to find in Japan itself, is becoming of
But that doesn't mean that if I had a single day to see
Paris again, I should not call at Bing's to see those very
Hokusais and other drawings of the great period. Besides, Bing
himself used to say to me, when I was admiring the ordinary
prints, that after a while I should come to see that there are
quite different things still.
But at the stage we have reached, it seems to me very
essential for us to recognise that sober quality which is the
equivalent of the colourless Millets. That has little or
nothing to do with the stock proper, which can quite well stay
as it is. For I never tire of the figures and landscapes. And
there are so many!
If I was not caught and absorbed in my work, how I should
love to sell the whole pile. There isn't much to be made out of
it. That's why no one takes it up. Nevertheless, in a few years
all these prints will become very rare, and will bring higher
prices. That's why we must not undervalue the small advantage
we have now in rummaging through thousands of them to make our
So now if you give a whole Sunday to it, and choose a 100
francs' worth of stock, you can tell yourself beforehand that
you will not sell them, having chosen them yourself, unless
they displease you. You can pay for them in installments,
always filling in the gaps - and when the lot is finally paid
for, you will still have as many more in stock. And the result
will be that whatever we like most out of the bunch
will stay in our hands. That is how it has come about
that there are a good many old prints, already well worth a
franc apiece, in what you actually have at the moment.
So please hang on to the stock and do not get rid of any
fine prints - for that matter it would pay us better to get
more. We already have some prints that are certainly worth 5
francs. Lord, I could not do as I liked, for I was as
enthusiastic over that heap of 10,000 prints to rummage in as
Thoré was over a sale of Dutch pictures, with
interesting ones among them. My Lord, my work has pretty well
got hold of me now, and I myself can do no more in that field,
but let me commend that attic of Bing's to your attention.
I learned there myself, and I made Anquetin and Bernard
learn there too. Now there is still something to learn
at Bing's, and that is why I strongly advise you to hang on to
your stock and our right to inspect the attic and cellars, and
you will see how far I am from seeing it as a speculation.
Suppose it does cost something (I myself do not think
that we shall lose on it), it will not be anything
Whatever is Reid doing??? Perhaps he has been there already
on his own account, as well as Russell. I did not conceal the
fact there were some at Bing's, only I said that they were 5
sous, which Bing himself had told me, or rather the manager. If
you keep the stock, tell the latter again that we often send
people direct to him, but that he must keep his prints at the
stated price - 5 sous - not less.
I only tell you this because I have rummaged in the heap
four or five times, the prints at home are the result of a
stock already several times renewed.
Let's go on in the same way. It has already caused me much
regret, knowing something of the heap, that I did not pay on
New Year's Day and choose the new stock myself. Because there
are so many one gets confused.
And there isn't the same stuff in the other shops, because
people are afraid to go to Bing, thinking him expensive. The
place where I haven't hunted is the Library, where there
are hundreds, thousands of bound books.
Look here, the best thing you can do is to go and see the
manager - I still cannot remember his name - give him my
profound apologies please, but tell him that I went three times
on New Year's Day to settle up, and that after that I went
Then that will get you a Claude Monet and other pictures,
because if you take the trouble to ferret out the prints, you
have a perfect right to use them as exchanges with painters for
But to wind up our connection with Bing, oh never! Japanese
art is a thing like the Primitives, like the Greeks, like our
old Dutchmen, Rembrandt, Potter, Hals, Van der Meer, Ostade,
Ruysdael. They never pass away.
If, however, I were seeing Bing's manager, I should tell him
that when we give ourselves the trouble of finding purchasers
for his prints, a whole day is gone before we know it, and at
the end of it all, whether we sell or not, we lose money on it.
And as for yourself, if you don't want to lose on it, I advise
you to make some exchange with the painters you know; Bernard
still owes you a study, to tell the truth.
But it's all to be expected, and the difficulty of working
in Paris! Today I sent six drawings after painted studies to
Bernard. I have promised him six more, and I have asked for
some sketches after his painted studies in exchange.
And so here's General Boulanger up to his tricks again. Both
sides, it seems to me, had reason enough to fight, seeing that
they couldn't agree. And anyhow, at least this way there won't
be any stagnation, and they can't help but get something out of
it, both sides. Don't you think he speaks very badly? -
Boulanger, I mean: he can make no impression speaking at all. I
do not think the less of him for that, since he is in the habit
of using his voice for practical purposes, for explaining
things to the officers or to the arsenal superintendents. But
he makes no impression whatever in public. All the same, it's a
queer city, Paris, where you can only live by spilling your
guts, and where you can do nothing or even less as long as you
are not half dead.
I have just read Victor Hugo's L'Année Terrible.
There is hope there, but… that hope is in the stars. I
think it is true, and well told, and beautiful, and indeed I
should be glad to believe it myself. But don't lets forget that
this earth is a planet too, and consequently a star, or
celestial orb. And if all the other stars were the same!!! That
would not be much fun; nothing for it but to begin all over
again. But in art, for which one needs time, it would
not be bad to live more than one life. And it is rather
attractive to think of the Greeks, the old Dutch masters, and
the Japanese continuing their glorious school on other orbs.
There, that's enough for today.
Well, here's another Sunday got through, writing you and
writing Bernard. I must say, however, I haven't found it
Ever yours, Vincent
If our sisters could again bring us some wood engravings and things
like the Gavarni's Human Masquerade,100 lithographs,
and the Charles Keenes, of which there are at least 200, it
would not be a bad idea. Also there is a very fine book,
Anatomy for Artists!
At this time, Vincent was 35 year old
Vincent van Gogh. Letter to Theo van Gogh. Written 15 July 1888 in Arles. Translated by Mrs. Johanna van Gogh-Bonger, edited by Robert Harrison, number 511.
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