2. For Fritz Reuter, Ut mine Festungstid, see letter 306, n. 6. The passages about the privileges in the prison are in the Dutch translation Herinneringen uit mijne gevangenissen, chapters 7-11. The main character plays the prison authorities off against each other and bribes them with tobacco and other things.

A fortress sentence is a punishment consisting of confinement to a fortress; a plaatsmajoor is a non-commanding field officer in a fortress carrying out administrative duties.

3. Ut mine Stromtid (1862-1864) – translated into Dutch as Herinneringen uit mijne leerjaren op het land (During my apprenticeship) (Leiden 1866, 3 vols.) – appeared under the general title of Gedroogde kruiden (Dried plants, originally Olle Kamellen). The fifth, revised edition with a foreword by Eliza Laurillard was published in Leiden in 1883. In this novel of social realism various characters are portrayed in a humorous fashion, and both the oppressed peasants at the beginning of the century and the landowners during the Revolution are featured. Bräsig is a generous and outspoken eccentric who jokingly criticizes social wrongs. Hawermann remains a noble-hearted figure, despite many setbacks. Cf. Kurt Batt, ‘Ut mine Stromtid’, in Fritz Reuter. Leben und Werk. Gesammelte Werke und Briefe. Rostock 1967, vol. 9, pp. 302-332.

4. It is not known which drawings these are. But cf. in this connection the drawing Old man with a cap (F 1019 / JH 311).

5. In addition to the Mormon church mentioned (see n. 10 below), Boyd Houghton depicted other scenes with Mormons, such as A Mormon family on their way to Salt Lake City, in The Graphic 4 (4 November 1871), p. 448 (Ill. 2067

), and the sheet Among the Mormons, in The Graphic 4 (8 July 1871), p. 41. Both are in the estate, t*102 en t*842 respectively.

6. For Houghton’s ‘Indians’, see letter 305, n. 10.

7. Arthur Boyd Houghton’s contributions to The Graphic dealt with the Franco-Prussian War (and the Commune), and with America and London; an example from the latter category is Sketches in London – Before the bar, in The Graphic 5 (11 May 1872), p. 440. Ill. 964

(t*99).

8. For Houghton’s Paris under the Commune – Women’s club at the Boule Noire, Boulevard Rochechouart

, see letter 303, n. 4.

9. Arthur Boyd Houghton, Steerage emigrants, in The Graphic 1 (19 March 1870), p. 365. Ill. 2068

. Van Gogh earlier mentioned a cabin on board an emigrant ship; see letter 304, n. 55.

10. For Arthur Boyd Houghton, Service in the Mormon tabernacle, Salt Lake City

, see letter 303, n. 21.

11. George du Maurier, Souvenir de Dieppe (Souvenir of Dieppe), engraved by Joseph Swain, in Musée Universel 5 (1877), deuxième sémestre, pp. 120-121. This print and the five mentioned after it are in the estate. Ill. 1129

(t*109).

12. George du Maurier, A musical rehearsal, in The Graphic 6 (14 September 1872), p. 241. Ill. 1130

(t*111).

13. George du Maurier, The rival grandpas and grandmas, in The Graphic 4 (5 August 1871), p. 137. A reprint of this appeared in The Graphic Portfolio of 1877. Ill. 1131

(t*110).

14. George du Maurier, Before dinner – The march past, engraved by Horace Harral, in The Graphic Portfolio of 1871. This is a reprint of the illustration in the Christmas issue of The Graphic 4 (25 December 1871), p. 10. Ill. 1125

(t*447).

15. George du Maurier, Battledore and shuttlecock, in The Graphic 4 (13 May 1871), p. 437. The engraving belongs with a poem by Alfred Perceval Graves. Ill. 1124

(t*113).

16. George du Maurier, The Darwinian theory – A sketch in the monkey-house of the zoological gardens, engraved by Horace Harral, in The Graphic 4 (8 July 1871), p. 33. Ill. 1132

(t*112).

17. George du Maurier, The Eton and Harrow cricket match at Lord’s – “The lookers on”, engraved by Horace Harral, in The Graphic 4 (22 July 1871), p. 77. Ill. 1126

18. Van Gogh suspects that Ladies’ boarding school comes from one of the first issues of The Graphic, but no print of this subject by Du Maurier has been found in the volumes for 1869-1873. He did contribute A generic difference (1876) and The school-room as it ought to be (1879), no source (London, Witt Library), but they are relatively small prints, so Van Gogh cannot mean them. Still they probably give some idea of the type of scene (Ill. 1127

and Ill. 2069

19. Van Gogh more than once confuses Mary Ellen Edwards, who is meant here, with the etcher Edwin Edwards.

20. James Dromgole Linton, The women of Paris, in The Graphic 3 (29 April 1871), p. 384. There is one copy in the estate. Ill. 1064

(t*84).

21. James Dromgole Linton, The feast of tabernacles at the North London synagogue – The reader taking the palm branch, engraved by Horace Harral, in The Graphic 6 (2 November 1872), p. 407. There is one copy in the estate. Ill. 1065

(t*5).

22. James Dromgole Linton, Delivering the keys of the Tower to the New Constable, in The Graphic 5 (20 January 1872), p. 49. There is one copy in the estate. Ill. 1066

(t*288).