VINCENT VAN GOGH | Orphan Man

H. P. Bremmer, The Hague (until 1956) Private Collection, The Hague (by descent from the above)

F. Bremmer, The Hague (acquired by 1970)

Spencer Samuels Gallery, New York

Private Collection, Seattle (acquired by 1993)

Avanti Galleries Inc., New York

Acquired from the above by the present owner in 1994

Paris, Musée Jacquemart-André, Vincent van Gogh, 1960, no. 91 Amsterdam, Van Wisselingh & Co., Vincent van Gogh. Aquarelles & dessins de l'époque 1881-1885 provenant de collections particulières Néerlandaises, 1961, no. 24, illustrated in the catalogue

New York, Avanti Galleries Inc., Vincent van Gogh: Works from the Dutch Period, 1995, no. 3, illustrated in the catalogue

Moderne Kunstwerken 5, 1907, no. 6, illustrated on the cover Jacob-Baart de la Faille, L'Œuvre de Vincent van Gogh. Catalogue raisonné, Paris & Brussels, 1928, vol. III, no. 1018, catalogued p. 45; vol. IV, no. 1018, illustrated pl. XLVIII (titled Tête d'homme coiffée d'une casquette)

Walther Vanbeselaere, De hollandsche periode (1880-1885) in het werk van Vincent van Gogh, Antwerp, 1937, pp. 99, 187 & 409

Jacob-Baart de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings, London, 1970, no. F 1018, illustrated p. 377

Jan Hulsker, The Complete Van Gogh: Paintings, Drawings, Sketches, New York & Oxford, 1980, no. 316, illustrated p. 78 (titled Orphan Man with Cap, Head)

Jan Hulsker, The Complete Van Gogh: Paintings, Drawings, Sketches, New York, 1984, no. 316, illustrated p. 78 (titled Orphan Man with Cap, Head)

Jan Hulsker, The New Complete Van Gogh: Paintings, Drawings, Sketches, Amsterdam, 1996, no. 316, illustrated p. 78 (titled Orphan Man with Cap, Head)

‘There is no model in Van Gogh’s œuvre who is depicted in so many ways as Zuyderland. He can be recognized in drawings of a single figure, groups and in studies of heads. He appears in different outfits and poses and with various attributes’ (Sjraar van Heugten, Vincent van Gogh Drawings. The Early Years 1880-1883, Amsterdam, 1996, p. 129). Van Heugten refers to Adrianus Jacobus Zuyderland, who lived at the Dutch Reformed Almshouse for Men and Women and who, alongside other residents from the home, would pose for the artist in return for ‘a few quarters for an afternoon or morning’ (Van Gogh quoted in ibid., p. 129). His easily identifiable features, including his bright white whiskers and the prominent slope of his nose, captivated Van Gogh’s imagination. In addition to featuring in numerous compositions during the Hague period, including the present work and the drawing Worn Out in the Van Gogh Museum, Zuyderland's likeness would later inspire the artist to create his iconic painting At Eternity’s Gate, now in the Kröller-Müller Museum in Otterlo (fig.1). In a letter to the Dutch painter and friend Anthon Van Rappard in September 1881 Van Gogh expressed his enthusiasm towards studying the residents of the almshouse, in addition to shedding some light on the enigmatic title: ‘I am very busy working on drawings of a weesman [“orphan man”], as these almsmen are called here. Don’t you think the expressions weesman and weesvrouw [“orphan woman”] superb?’ (Van Gogh quoted in ibid., p. 128). Van Gogh’s expressive blending of mediums in the present work allowed the artist to realistically portray the unique contours of his sitter’s face and to poignantly capture his psychological state.



The authenticity of this work has been confirmed by the Van Gogh Museum, Amsterdam.