Size: on strainer bars

59 cm x 45 cm

23.22 in x 17.7 in

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Van Gogh Collaboration Painting with Student and Friend Anton Kerssemakers. Probably.

About The Painting...

After three years of extensive research, we believe this is an original Vincent van Gogh cottage collaboration painting.

The painting, Farmhouse with Barn and Well, has suffered significant damage throughout the years, as had several of Van Gogh’s paintings, and were subsequently restored and placed onto panels for preservation.

Without authentication, previous owners had little interest in conservation, though one must thank the art gods it was not completely discarded, given its dire condition.

"I follow no system of brushwork at all, I hit the canvas with irregular strokes, which I leave as they are, impastos, uncovered spots of canvas—corners here and there left inevitably unfinished— reworkings, roughnesses; well, I'm inclined to think that the result is sufficiently worrying and annoying not to please people with preconceived ideas about technique."

~ Vincent in a letter to his friend Émile Bernard

In February 2020, the Van Gogh Museum in Amsterdam received digital photographs via email of the Van Gogh cottage collaboration painting, Farmhouse with Barn and Well, for authentication purposes. The painting had not yet undergone x-ray or infrared imaging analysis; thus, their assessment was concluded entirely through photographs; quote: “based on stylistic features, the painting cannot be attributed to Vincent van Gogh.” This rejection method is one they frequently adopt to address the volume of authentication requests, simply because most of those received are not by the hand of their namesake.

However, this particular painting has ALL of the recognizable characteristics of a Van Gogh painting, and therefore reject the decision made by the VGM; In January 2022, we resubmitted the painting believing that on this occasion, they are incorrect, as they have been before when several submissions were rejected by the museum and later authenticated as works by the Dutch Master.

In January 2023, three years after the initial submission, and a year after the second, the owner wrote to the VGM research dept in Amsterdam for an update having learned the authentication panel had traveled from the Dutch capital to Detriot, Michigan for the DIA Van Gogh exhibition FIVE DAYS before the owner herself was at the exhibit – the owners questions were ignored during the live online panel, and the email response stated, quote: “Due to an overwhelming number of applications, we are forced to temporarily close and consider whether the procedure should be reviewed. We advise you to check the Van Gogh Museum website regularly to see whether an online application is possible again. We expect to restart again in the first months of 2023.” The owner wrote back to the VGM research dept which evidently was ignored.

July 2023 update from the VGM website: “From September on, the Van Gogh Museum will no longer accept authentication requests directly from individual members of the public. From September 2023 onwards, the authentication procedure will only be available to accredited art dealers and auction houses.”

So, after executing our research for three years and reviewing the X-rays, UV, Infrared, and Raking Light provided by the Williamstown Art Conservation Center in Massachusetts, we categorically believe that Farmhouse with Barn and Well is by the hand of Van Gogh, and provide evidence as such; The only significant contrast is a highly probable collaboration.

Vincent engaged in collaborations with his friend and student Anton Kerssemakers while in Nuenen, Henri de Toulouse-Lautrec while in Paris, and Paul Signac in Pont de Clichy, near Asnières.

There should be no question when preserving Vincent’s work, regardless of whether he painted the entire canvas or partially. The art world owes this to the gentle soul who gave us the joy of Sunflowers despite his inner turmoil.

Aug 24, 2023, I emailed the VGM again having not heard back regarding my 2021 submission and received a response the following day stating quote: “Your request has escaped our attention unfortunately” and went on to blame the covid pandemic. – September 14th, they concluded their “findings” and stated that their decision remains the same. It took the VGM one year, eight months to respond to my second authentication request, WITHOUT any closures for the pandemic – At this point, I genuinely have to question their commitment to Vincent van Gogh! Based on the mountain of evidence included within these web pages the Van Gogh Museum believe that quote: “based on stylistic features, the painting cannot be attributed to Vincent van Gogh“. These brushstrokes are IDENTICAL! pigments used – identical; perhaps they are presently too busy focusing on Vincent’s contemporaries instead of the man himself.

Why is the Van Gogh Museum failing to authenticate Vincent’s work?

Better yet why are they refusing to examine these pieces? The Lost Arles sketchbook was deemed authentic by several Van Gogh Scholars with legitimate provenance! The VGM did view some of the original sketches and described them as “imitations” in 2016.

May 2021 – Pivar v. The Van Gogh Museum – Stuart Pivar, like every Tom, Dick and Harriett, filled out a form through the VGM website asking for authentication; The museum responded to him with a notification that “the museum was closed due to the COVID-19 pandemic, therefore is unable to do an authentication request.” However, the VGM decided to make an exception and give him a detailed opinion; In August, after jumping through hoops, a detailed presentation was provided informing its owner that the painting, Auvers 1890, cannot be attributed to Van Gogh – A $300 million lawsuit ensued, and the case was eventually dismissed.

Erhard Jägers an expert chemist in Germany said that VGM’s expertise was flawed, having analyzed a painting owned by former art dealer Markus Roubrocks, still life with Peonies. Five credible scientific opinions determined that still life with peonies exhibited all of Van Gogh’s typical factors; and two scientific statements against the opinion of the VGM. The descendants of Vincent’s friend and pupil Anton Kerssemakers, were also told by the VGM that their collection did not include any work by Van Gogh