2. The lithograph Molen langs de Trekvaart (Mill by the Trekvaart) by Weissenbruch Dzn. is followed in Theo’s album on pp. 2, 3 and 5 by three lithographs after J.H. Weissenbruch: Landschap met kerk en molens (Landscape with churches and mills), which was made by Jacobus Jan van der Maaten (Ill. 1653

), Het hofje aan de Nieuwe Haven te ’s-Gravenhage (The courtyard near the Nieuwe Haven in The Hague), by Frederik Hendrik Weissenbruch (Ill. 1654

) and Landschap met bootje (Landscape with boat). Ill. 1652

(Amsterdam, Van Gogh Museum, t*1488). See also letter 11, n. 16. Van Gogh sometimes enclosed letters or prints in shipments sent from Goupil’s London office to the branch in The Hague.

3. Van Gogh moved to Hackford Road 87, Brixton, where he boarded with Ursula Loyer and her daughter Eugenie, who ran a school. Brixton was ‘a relatively well-to-do area on the southern outskirts of the capital’. See exhib. cat. London 1992, p. 16; and Bailey 1990, pp. 26-37. Mr van Gogh reported to Theo: ‘Vincent is doing well in London. We are getting cheerful letters. He moved last week to save some money, as his former lodgings had become too expensive for him, and he had found a good place for 180 guilders less a year’ (FR 2651, 25 August 1873).

4. The ‘London International Exhibition’ was held from 14 April to 31 October in two halls near the Royal Albert Hall and in the Horticultural Gardens. See London International exhibition of 1873. Official catalogue. London 1873, and John E. Findling, Historical dictionary of world’s fairs and expositions, 1851-1988. London 1990, pp. 44-47.

5. In the summer of 1872, Van Gogh visited the ‘Exposition générale des Beaux-Arts’ (General Exhibition of Fine Arts) at Brussels, at which the painters mentioned were all represented. See letter 4.

6. Albert Frans Lieven de Vriendt, Figures; Julien de Vriendt, Figures, p. 66, cat. nos. 1716 and 1712.

7. Alfred Cluysenaar, A vocation and La vie en rose (A rosy view of life), pp. 64-65, cat. nos. 1640 and 1673.

8. Edouard Wouters, The new romance, p. 66, cat. no. 1693.

9. Joseph Théodore Coosemans, Interior of a wood and The marsh, pp. 66-67, cat. nos. 1720 and 1724.

10. The Dutch painter Constant Gabriël was often viewed as a Belgian because of his frequent stays in Belgium. He was represented at the exhibition by A bog – View in Holland and Afternoon – Landscape in Holland, pp. 64-65, cat. nos. 1659 and 1663.

11. Edmond de Schampheleer, Marsh of the old bogs of Vreeland, Holland and Road from Loosdrecht to Hilversum, Holland, pp. 67-68, cat. nos. 1743 and 1768.

12. According to the catalogue, Felix Terlinden was not represented at the London exhibition, though one of his works was on display at the 1872 Brussels exhibition.

13. There were c. 600 English paintings on display at this exhibition.

14. Sir Edward James (John) Poynter, Fight between More of More Hall and the Dragon of Wantley (Wortley Hall (near Sheffield), The Earl of Wharncliffe’s Billiard Room). Ill. 467

. It was displayed as a ‘companion picture to Perseus and Andromeda’ at the Royal Academy in 1873 and has nothing to do with the Archangel Michael, as Van Gogh assumes. See exhib. cat. Nottingham 1974, pp. 14-16 (with ill.) and exhib. cat. London 1992, p. 38.

15. Valentine Cameron Prinsep, The Gadarene swine (present whereabouts unknown). The work is very sketchily rendered in a cartoon by Charles Keene which was published in the 21 June 1873 issue of Punch, p. 261.

16. Theo had been transferred from Brussels to The Hague. Mr van Gogh had approved of this transfer and had told Theo: ‘I’ve now written to Mr Schmidt and requested that you begin in The Hague on 1 Nov. at the latest. And that His Honour therefore release you before that time. I sympathize with you. You’re attached to Mr S., and that is your perfect right, because he is such an excellent fellow. But in this case there are so many reasons that coincide, which one should in fact heed’ (FR b2661, 17 September 1873. Cf. also FR b2663). Theo arrived on Wednesday, 12 November in The Hague.