1. A daalder is 1.50 guilders.

2. For the subscription library, see letter 263, n. 1.

a. Variant of ‘kleinere’.

3. For the prints by Renouard in the estate, see letter 235, n. 44.

4. Paul Renouard, La bourse et les boursiers (The exchange and the brokers), in L’Illustration 79 (18 February 1882), p. 104. Ill. 381 . (t*22).

5. Paul Renouard, Un discours de M. Gambetta: Gestes et attitudes (A speech by M. Gambetta: Gestures and attitudes), in L’Illustration 78 (17 September 1881), p. 188. Ill. 385 . (t*23).

6. The following prints from the series Les enfants assistés (The orphanage) are in the estate: La crèche (The crèche), engraved by Charles Baude. Ill. 1956 (three copies: t*61, t*644 and t*768); Le change (The change) engraved by Charles Baude. Ill. 1957 (three copies: t*761, t*765 and t*766), in L’Illustration 79 (25 March 1882), p. 192 and p. 197; Le repas des sevrés – Scrofuleux – Rachitique – On apprend a marcher (The meal of the weaned babies – A scrofulous child – A rachitic child – They learn to walk) Ill. 1970 (t*762); L’heure de la bouillie (Time for porridge) engraved by Henry Thiriat. Ill. 1959 (t*763); La première division passe au réfectoire (The first group goes to the dining room), engraved by Henry Thiriat. Ill. 396 (t*747) and Le numéro 68,782 (Number 68.782), engraved by Henry Thiriat. Ill. 395 (t*767), all from L’Illustration 79 (1 April 1882), pp. 209, 213, 212. Van Gogh must also have had Aux enfants trouvés. L’abandon (In the foundlings’ house. Abandonment) engraved by Stéphane Pannemaker, in L’Illustration 79 (25 March 1882), pp. 194-195, as is evident from letter 321. Ill. 1978 .

7. For the prints by Lançon in the estate, see letter 235, n. 16.

8. In the estate there are seven prints by Richard Caton Woodville (II), all from The Illustrated London News 76-78 (1880-1881).

9. In the estate there are the following prints by G. Montbard on Irish themes: Types et physionomies d’Irlande – Halte de paysans irlandais au retour d’une fête (Irish types and physiognomies – Irish peasants resting on the way back from a party), engraved by Henri Pierre Paillard, in L’Illustration 62 (16 August 1873), p. 116. Ill. 1958 ; Types et physionomies d’Irlande – Un intérieur irlandais (Irish types and physiognomies – An Irish interior), in L’Illustration 62 (13 September 1873), p. 173 Ill. 1979 ; and Moeurs irlandaises – Une expulsion (Irish customs – An eviction), in L’Illustration 63 (10 January 1874) Ill. 1980 , p. 25. (t*827, t*826 and t*478 respectively.)

10. The Channel Islands are Jersey and Guernsey. This must be a case of conflation. Montbard did at least one work about Jersey, namely a view of Montorgueil à Jersey. See Béraldi 1885-1892, p. 111, no. 17.

11. Van Rappard had submitted a painting of a Drenthe woman at the spinning wheel (present whereabouts unknown) for the exhibition of ‘Levende Meesters’ (Living Masters) at the artists’ society Arti et Amicitiae, of which he had been a member since 1881; the painting was to be rejected. See exhib. cat. Amsterdam 1974, pp. 12, 76, cat. nos. 75-77; and letter 277.

12. The term ‘orphan man’ was in fact used mainly for the elderly in the Roman Catholic Orphanage and Old People’s Home in Warmoezierstraat, but evidently more widely applied too. For Van Gogh’s model Zuyderland, see letter 267, n. 20.

13. This letter sketch, Old man with an umbrella seen from the back (F - / JH 214), corresponds to the drawing of the same name (F 968 / JH 213 ). The legend ‘N 199’ refers to the number that residents of the Old Men’s and Women’s Home were required to wear visibly. Van Gogh also sketched this number on the right sleeve – which eventually made it possible to identify the model as Zuyderland. See cat. Amsterdam 1996, pp. 128-131, cat. no. 31.