To Theo . , Sunday, 15 July 1888.

Sunday, 15 July 1888

Metadata Source status: Original manuscript

Location: , , inv. nos. b551 a-b V/1962

Date: The letter was written during the morning of the day Van Gogh wrote letter 642. Since that one dates from Sunday, 15 July 1888, so does this.

Additional: Original [1r:1] Mon cher Theo, je te remercie beaucoup de ta lettre et du billet de 100 francs quelle contenait. Maintenant japprouve ton ide de rgler une fois le compte avec Bing et cet effet je te renvoie cinquante francs. Seulement ce serait, il me semble, une erreur den finir avec Bing ah non au contraire je ne serais pas etonn que Gauguin comme moi dsirera en avoir ici de ces crepons. Fais donc comme bon te semblera pour lui payer les 90 francs du dpt en plein et reprendre ensuite pour 100 francs en plein. Ou bien Bing remplacera la marchandise que reprsentent les 50 francs ci inclus. Seulement. Si cetait possible les crepons qui sont chez nous etant tous beaux mieux vaudrait reprendre le dpot complet. Nous les avons si bon march et nous pouvons faire plaisir tant dartistes avec, quenfin il faut garder ce que nous avons de faveur chez le pre Bing. Moi jai t chez lui 3 fois

1 2 To Theo van Gogh. Arles, Sunday, 15 July 1888.

nouvel an pour regler, alors pour cause dinventaire probablement jai trouv la maison ferme. Or un mois plus tard avant mon depart je navais plus largent et javais encore donn pas mal de japonaiseries Bernard alors que jai fait [1v:2] les echanges avec lui. 1 Seulement prends donc aussi les Hokousa, 300 vues de la montagne sainte et les Scenes de moeurs.3 Il y a chez Bing un grenier, l il y a un tas de 10 mille crepons, paysages, figures, crepons anciens aussi. 5 Il te laissera un dimanche choisir toi-mme, alors prends pas mal danciennes feuilles aussi. Il ten tera quelques uns en collationnant mais il ten laissera. Cest ce qui ma sembl un bien brave homme leur grant, 7 et bon pour les gens qui srieusement sinteressent la chse. Moi je ne comprends pas pourquoi tu ne tiens pas les belles japonaiseries Boulevard Montmartre. Il ten donnera en dept des plus belles jen suis sr. Mais enfin cela ne me regarde pas mais notre depot personel jy tiens. Fais lui toutefois remarquer que nous ny gagnons rien , que nous nous donnons du mal pour laffaire, quenfin nous sommes quelquefois cause de lui envoyer des gens.[1v:3] Moi jai toujours espr etant Paris avoir une salle dexposition moi dans un caf, tu sais que cela a rat.

1 Van Gogh used the plural changes, which means he must have swapped more than one work with Bernard2. We know that while he was in Paris he exchanged his Self-portrait with a straw hat (F 526 / JH 1309) for Portrait of Bernards grandmother (see letter 655, n. 3). The following works by Bernard also come from the Van Gogh brothers collection: the paintings Vase of flowers and a cup , 1887, Figure sitting in the grass , 1886 and Ragpicker fishing , 1886-1887, and the drawings Figures in a street and Portrait of his grandmother , 1887 (all Amsterdam, Van Gogh Museum). It emerges from letter 630 that they also had Bernards painting The acrobats . As well as the Self-portrait with a straw hat (F 526 / JH 1309) Bernard had the following paintings from Van Goghs Paris period: Reclining female nude (F 330 / JH 1214), Reclining female nude (F 329 / JH 1215), Blue and white grapes, apples, pears and lemons (F 382 / JH 1337), Self-portrait (F 319 / JH 1333), Self-portrait (F 366 / JH 1345), and possibly also Woman with a scarlet bow in her hair (F 207 / JH 979), Woman strolling in a garden (F 368 / JH 1262), The with a rowing boat (F 298 / JH 1257) and Factories (F 318 / JH 1288). He may also have owned Old man with an umbrella seen from the back (F 978a / JH 240). See Van Gogh 2007, pp. 366-367. We do not know which of these works were obtained by means of exchange and which ones Bernard bought later. 3 Katsushika Hokusai4s series of colour woodcuts Thirty-six views of Mount Fuji (c. 1831), and/or the second series in black and white A hundred views of Mount Fuji (1833-1834), which were published in three albums. There is a copy of the second album in the estate, but it is not known whether Theo and bought it or it came into the collection later (inv. no. n561). See cat. Amsterdam 1991, p. 316. produced countless genre scenes, so it is not possible to tell which ones Van Gogh means here. 5 This may have been the attic at the back of Bing6s branch at 22 rue de Provence; in 1899 it was converted for use as a workshop for Bings craftsmen. See exhib. cat. Amsterdam 2004-1. 7 In letter 676 Van Gogh mentions a branch manager called Lvy8 this is probably who he means. To Theo van Gogh. Arles, Sunday, 15 July 1888. 3

Lexposition de crepons que jai eu au Tambourin a influenc Anquetin et Bernard joliment mais cela a t un tel dsastre.9 Pour la 2me exposition dans la salle Bd de Clichy je regrette moins la peine.13 Bernard y ayant vendu son premier tableau, Anquetin y ayant vendu une etude, 14 moi ayant fait lchange avec Gauguin, 18 tous nous avons eu quelque chse. Si Gauguin voudrait nous ferions une exposition Marseille tout de mme. Mais pour les Marseillais faut pas sy fier plus que sur Paris. Mais je ten prie, gardes le dpot Bing. lavantage est trop grand. Jy ai plutot perdu que gagn quant largent bon mais cela ma donn occasion de voir beaucoup de tranquillement et longtemps. Et cela doit durer il me semble. Ton apartement ne serait pas ce quil est sans les japonaiseries continuellement.20 Maintenant les crepons nous cotent 3 sous piece. pour 100 francs, si nous payons les 90 francs, en outre que tout ce quil y a nous reste, 21 [1r:4] on aura un nouveau stock de 660 crepons.22 Ou pour les 50 francs ci inclus la moiti. Je navais pas compt ce mois ci sur un billet de 100 dans ceux de 50, te sachant aux prises avec laffaire Gauguin et la venue des soeurs. Donc je men tirerai comme cela ce mois ci. Je travaille des dessins pour Bernard pour quil menvoie des siens.23

9 For Caf Le Tambourin, where Van Gogh exhibited his work, see letter 571, nn. 2-3. It is assumed that Van Goghs exhibition of Japanese prints took place in February-March 1887 because the portrait of Agostina Segatori10 (with a Japanese print in the background) is dated to this period. In any event it must have been before the end of April 1887, because that was when Bernard11 left for Brittany and it is apparent from the present letter that he went to see the exhibition. Japanese graphic art was a major influence on the new style Cloisonnism that Anquetin12 and Bernard developed. Cf. letter 575, n. 7.

13 Read: Avenue de Clichy. Van Gogh staged an exhibition of paintings in the Grand Bouillon-Restaurant du Chalet in avenue de Clichy in November-December 1887; see letter 575, n. 9. On the basis of this passage Kdera assumed that Van Gogh also exhibited Japanese prints there, but there is nothing here that bears this out. Cf. cat. Amsterdam 1991, p. 12. 14 Bernard15 sold his first painting to the art dealer Georges Thomas16, who Van Gogh mentions later in the letter. See exhib. cat. Mannheim 1990, pp. 97, 382. We do not know which work this was. Anquetin17s study is probably Old peasant (Amsterdam, Van Gogh Museum). Thomas bought this one, too (see letter 641, n. 8). 18 In this exchange Gauguin19 acquired Sunflowers gone to seed (F 375 / JH 1329) and Sunflowers gone to seed (F 376 / JH 1331): see letter 576, n. 2.

20 Shortly before he left for Arles Vincent had covered the walls of Theos apartment with Japanese prints. See Bernard 1994, vol. 1, p. 251. 21 Read: outre quil nous reste tout ce quil y a. 22 3 sous = 0.15 francs, so one could buy 666 prints for 100 francs. 23 See letter 641 for the drawings Van Gogh sent Bernard24. Bernard sent Van Gogh several sketches soon afterwards, 4 To Theo van Gogh. Arles, Sunday, 15 July 1888.

Je veux volontiers changer Tanguy ses fleurs contre une nouvelle tude sil desespre des fleurs. Justement de ces fleurs nous nen avons plus gure. 25 Mais son compte est aussi absurde quune facture que je monterais de mon ct dans ces termes ci: portrait de Tanguy 50 ,, ,, Mme ,, 50 ,, ami 50 argent que Tanguy a gagn sur couleurs 50 amiti &c 50 Total fr. 200 le rglement de ce compte nest pas press, toutefois un acompte me serait agrable. 29 Donc suffit. Poignee de main. t. t. Vincent[2r:5] Dites donc pour ce livre de Cassagne: la difficult den trouver lediteur, si toutefois il y en a, sera vite finie si je te dis que la b c d du dessin par A. Cassagne est le texte (se vendant sparement je crois au prix de 5 francs) du Dessin pour tous par Cassagne , les 100 cahiers que tu connais sans aucun doute. Or jy ai rflechi que le livre doit etre chez le meme editeur que les cahiers.32 Je tai expdi rouleau de dessins. 34 Si tu allais voir Thomas avec ceux ci en y ajoutant les (je crois quil y en a 4) autres dessins mme format, 35 peutetre trouverions see letter 649. 25 We do not know which flower painting Tanguy26 had. According to Bernard27, Van Gogh had left a great many flower still lifes with Segatori28 (letter 571, n. 3); this could be why Vincent and Theo had very few left. See further cat. Amsterdam 2011. 29 Vincent had already drawn up a similar summary in letter 638, in response to Theos report that Tanguy30 had presented a bill (see letter 637). The portrait is Pre Tanguy (F 263 / JH 1202) or Pre Tanguy (F 363 / JH 1351). The portrait of Mrs Tanguy31 is not known; that of their friend is probably Portrait of a man (F 288 / JH 1200). Incidentally, Van Gogh made a mistake in his arithmetic. 32 Vincent had asked Theo to let him have the name of the publisher before (see letter 630, n. 9). Le dessin pour tous, mthode Cassagne , with Cahiers dexercices progressifs, consisted of various series made up of a number of instalments of 16 pages each: tude du paysage, Fleurs et fruits, Figure, Animaux, Lornement, Genre, Abcdaire du dessin, Marme. In 1881, in other words when Van Gogh was familiar with it, Le dessin pour tous consisted of 61 instalments altogether; Lalphabet du dessin took up 32 instalments (Van Gogh says here that there were 100). At that time, the Guide de lalphabet du dessin cost six francs, as we learn from an advertisement in Cassagne33s Elments de perspective . Paris 1881 (cf. letter 214, n. 2). 34 There were five drawings in this batch: The rock of Montmajour with pine trees (F 1447 / JH 1503), Olive trees, Montmajour (F - / JH add. 3), Hill with the ruins of Montmajour Abbey (F 1446 / JH 1504), La Crau seen from Montmajour (F 1420 / JH 1501) and Landscape near Montmajour with a train (F 1424 / JH 1502). 35 Among the other drawings of the same size was, in any event, View of Arles from a hill (F 1452 / JH 1437), which was part of the set of drawings of Montmajour (see letter 639). In the same letter Van Gogh had suggested offering Thomas36 Seated Zouave (F 1443 / JH 1485) and The harvest (F 1483 / JH 1439) as well as the drawings he had sent. It is quite possible that he also counted Wheat stacks (F 1425 / JH 1441), mentioned in letter 635, together with this Harvest among the group of drawings for Thomas. All these works measure approx. 50 x 60 cm. To Theo van Gogh. Arles, Sunday, 15 July 1888. 5 nous quelques sous chez le pre Thomas si tu lui expliques les raisons assez exceptionnelles quil y a dans ce moment pour que lon desire faire une affaire. Encore Thomas pourrait il prendre quelque chose Gauguin [2v:6] sil sait la combinaison que nous avons en train. Si tu payes le premier dpt en plein pourquoi ne demanderions nous pas 200 francs en commissions au lieu de moins. En tout cas faut aucunment cesser le dpot. Tout mon travail est un peu base sur la japonaiserie et si je me suis tu l-dedans37 envers Bing cest que je crois que aprs mon voyage dans le midi je pourrai reprendre la chose peuttre plus serieusement. Lart japonais en decadence dans sa patrie reprend racine dans les artistes Francais impressionistes. Cest ce ct pratique pour les artistes qui mintresse ncessairement plus que le commerce des japonaiseries. Toutefois ce commerce est interessant plus forte raison cause de la direction que tend prendre lart Franais. Ecris moi un petit mot si les dessins tarrivent en bon tat.

Translation [1r:1] My dear Theo, I thank you very much for your letter and the 100-franc note it contained. Now, I approve of your idea of settling Bing38s account, and Im sending you back fifty francs for that purpose. But it seems to me that it would be a mistake to have done with Bing oh no on the contrary I wouldnt be astonished if Gauguin39, like me, will wish to have some of these Japanese prints here. So do what you think best about paying him the full 90 francs for the stock and then taking more for a full 100 francs. Or else Bing40 will replace the merchandise represented by the enclosed 50 francs. But. If it was possible all the Japanese prints we have at home being beautiful it would be better to take the whole stock back. Were getting them so cheaply and we can give pleasure to so many artists with them, we should after all keep what favour we have with pre Bing. I went to his place myself 3 times at New Year to pay, when I found the shop closed, probably for stocktaking. Then a month later, before I left, I no longer had the money and Id also given a good many Japanese prints to

37 Read: l-dessus. 38 Siegfried Bing (1838-1905) dealer in oriental art in Paris 39 Paul (Eugne Henri) Gauguin (1848-1903) French artist 40 Siegfried Bing (1838-1905) dealer in oriental art in Paris 6 To Theo van Gogh. Arles, Sunday, 15 July 1888.

[1v:2] Bernard41, when I made the exchanges with him.42 But take the Hokusai44s as well then, 300 views of the sacred mountain and scenes of manners and customs.45 Theres an attic at Bing47s, and in it theres a heap of 10 thousand Japanese prints, landscapes, figures, old Japanese prints too.48 One Sunday hell let you choose for yourself, so take plenty of old sheets too. Hell take some from you when he goes through them, but hell leave you some. Their managers a very decent fellow,50 as it seemed to me, and good to people who are seriously interested in the subject. I myself dont understand why you dont have the fine Japanese prints at boulevard Montmartre. Hell give you some of the best ones on deposit, Im sure. But its not my business, after all, but our personal stock, that I do value. In any event, make it clear to him that were not making anything on it, that were putting ourselves to trouble over [1v:3] the deal, that lastly, were sometimes responsible for sending people to him. When I was in Paris I always hoped to have a showroom of my own in a caf; you know that that fell through. The exhibition of Japanese prints that I had at the Tambourin had quite an influence on Anquetin52 and Bernard53, but it was such a disaster.54 For the 2nd exhibition at the showroom on boul. de Clichy, I have fewer regrets about the time and effort.58 Bernard having sold his first painting there, Anquetin having sold a study there,59 and I having made the exchange with

41 Emile Bernard (1868-1941) French artist and writer 42 Van Gogh used the plural changes, which means he must have swapped more than one work with Bernard43. We know that while he was in Paris he exchanged his Self-portrait with a straw hat (F 526 / JH 1309) for Portrait of Bernards grandmother (see letter 655, n. 3). The following works by Bernard also come from the Van Gogh brothers collection: the paintings Vase of flowers and a cup , 1887, Figure sitting in the grass , 1886 and Ragpicker fishing , 1886-1887, and the drawings Figures in a street and Portrait of his grandmother , 1887 (all Amsterdam, Van Gogh Museum). It emerges from letter 630 that they also had Bernards painting The acrobats . As well as the Self-portrait with a straw hat (F 526 / JH 1309) Bernard had the following paintings from Van Goghs Paris period: Reclining female nude (F 330 / JH 1214), Reclining female nude (F 329 / JH 1215), Blue and white grapes, apples, pears and lemons (F 382 / JH 1337), Self-portrait (F 319 / JH 1333), Self-portrait (F 366 / JH 1345), and possibly also Woman with a scarlet bow in her hair (F 207 / JH 979), Woman strolling in a garden (F 368 / JH 1262), The Seine with a rowing boat (F 298 / JH 1257) and Factories (F 318 / JH 1288). He may also have owned Old man with an umbrella seen from the back (F 978a / JH 240). See Van Gogh 2007, pp. 366-367. We do not know which of these works were obtained by means of exchange and which ones Bernard bought later. 44 Katsushika Hokusai (1760-1849) Japanese artist 45 Katsushika Hokusai46s series of colour woodcuts Thirty-six views of Mount Fuji (c. 1831), and/or the second series in black and white A hundred views of Mount Fuji (1833-1834), which were published in three albums. There is a copy of the second album in the estate, but it is not known whether Theo and Vincent bought it or it came into the collection later (inv. no. n561). See cat. Amsterdam 1991, p. 316. Hokusai produced countless genre scenes, so it is not possible to tell which ones Van Gogh means here. 47 Siegfried Bing (1838-1905) dealer in oriental art in Paris 48 This may have been the attic at the back of Bing49s branch at 22 rue de Provence; in 1899 it was converted for use as a workshop for Bings craftsmen. See exhib. cat. Amsterdam 2004-1. 50 In letter 676 Van Gogh mentions a branch manager called Lvy51 this is probably who he means. 52 Louis Emile Anquetin (1861-1932) French artist 53 Emile Bernard (1868-1941) French artist and writer 54 For Caf Le Tambourin, where Van Gogh exhibited his work, see letter 571, nn. 2-3. It is assumed that Van Goghs exhibition of Japanese prints took place in February-March 1887 because the portrait of Agostina Segatori55 (with a Japanese print in the background) is dated to this period. In any event it must have been before the end of April 1887, because that was when Bernard56 left for Brittany and it is apparent from the present letter that he went to see the exhibition. Japanese graphic art was a major influence on the new style Cloisonnism that Anquetin57 and Bernard developed. Cf. letter 575, n. 7.

58 Read: Avenue de Clichy. Van Gogh staged an exhibition of paintings in the Grand Bouillon-Restaurant du Chalet in avenue de Clichy in November-December 1887; see letter 575, n. 9. On the basis of this passage Kdera assumed that Van Gogh also exhibited Japanese prints there, but there is nothing here that bears this out. Cf. cat. Amsterdam 1991, p. 12. 59 Bernard60 sold his first painting to the art dealer Georges Thomas61, who Van Gogh mentions later in the letter. To Theo van Gogh. Arles, Sunday, 15 July 1888. 7

Gauguin63,64 we all got something. If Gauguin were willing we could do a Marseille exhibition all the same. But better not rely any more on the people of Marseille than on Paris. But please, keep the Bing66 stock. The benefits too great. As far as money goes, Ive lost rather than gained on it fine but it gave me the opportunity to see a lot of Japanese art, at leisure and over time. And that should last, it seems to me. Your apartment wouldnt be what it is without the constant presence of Japanese prints.67 Now the Japanese prints cost us 3 sous each. For 100 francs, if we pay the 90 francs, besides all of what we have left, well have a new stock of 660 Japanese prints.68 Or half of them for the [1r:4] 50 francs enclosed. I hadnt counted on a 100-franc note among the 50-franc ones this month, knowing that youre grappling with the Gauguin69 business and the arrival of our sisters. So Ill get by somehow this month. Im working on some drawings for Bernard70 so that hell send me some of his.71 Ill happily exchange Tanguy73s flowers for a new study, if hes given up hope of the flowers. The point is that we have hardly any of the flowers left.74 But his account is as ridiculous as a bill that I would present for my part, in these terms: Portrait of Tanguy 50 Portrait of Mme Tanguy 50 Portrait of a friend 50 Money Tanguy has made on colours 50 Friendship &c. 50 Total 200 francs Payment of this bill isnt urgent, but an advance would nevertheless be agreeable to me.78 So, enough of that. Handshake. Ever yours, Vincent [2r:5] By the way, about this book of Cassagne81s: the difficulty of finding the publisher, always supposing there is one, will soon be over if I tell you that la b c d du dessin par A. Cassagne is the text (sold separately, I believe, at a price of 5 francs) of Le dessin pour tous par Cassagne, the 100 instalments with which youre certainly familiar.

See exhib. cat. Mannheim 1990, pp. 97, 382. We do not know which work this was. Anquetin62s study is probably Old peasant (Amsterdam, Van Gogh Museum). Thomas bought this one, too (see letter 641, n. 8). 63 Paul (Eugne Henri) Gauguin (1848-1903) French artist 64 In this exchange Gauguin65 acquired Sunflowers gone to seed (F 375 / JH 1329) and Sunflowers gone to seed (F 376 / JH 1331): see letter 576, n. 2.

66 Siegfried Bing (1838-1905) dealer in oriental art in Paris 67 Shortly before he left for Arles Vincent had covered the walls of Theos apartment with Japanese prints. See Bernard 1994, vol. 1, p. 251. 68 3 sous = 0.15 francs, so one could buy 666 prints for 100 francs. 69 Paul (Eugne Henri) Gauguin (1848-1903) French artist 70 Emile Bernard (1868-1941) French artist and writer 71 See letter 641 for the drawings Van Gogh sent Bernard72. Bernard sent Van Gogh several sketches soon afterwards, see letter 649. 73 Julien Franois Tanguy (pre Tanguy) (1825-1894) seller of artists’ materials in Paris 74 We do not know which flower painting Tanguy75 had. According to Bernard76, Van Gogh had left a great many flower still lifes with Segatori77 (letter 571, n. 3); this could be why Vincent and Theo had very few left. See further cat. Amsterdam 2011. 78 Vincent had already drawn up a similar summary in letter 638, in response to Theos report that Tanguy79 had presented a bill (see letter 637). The portrait is Pre Tanguy (F 263 / JH 1202) or Pre Tanguy (F 363 / JH 1351). The portrait of Mrs Tanguy80 is not known; that of their friend is probably Portrait of a man (F 288 / JH 1200). Incidentally, Van Gogh made a mistake in his arithmetic. 81 Armand Thophile Cassagne (1823-1907) French artist 8 To Theo van Gogh. Arles, Sunday, 15 July 1888.

Now, it has occurred to me that the book should be from the same publisher as the instal- ments.82 Ive sent you a roll of drawings.84 If you went to see Thomas85 with these, and added the (I believe there are 4 of them) other drawings in the same format,86 perhaps wed pick up a few sous from pre Thomas if you explain to him the rather exceptional reasons there are at this moment [2v:6] for our wanting to do a deal. Or again, Thomas could buy something from Gauguin88 if he knows the partnership we have in train. If you pay for the first stock in full, why dont we ask 200 francs in commissions instead of less? Whatever we do, we mustnt stop holding stock. All my work is based to some extent on Japanese art, and if Ive said nothing about this to Bing89 its because I think that after my journey in the south Ill be able to take the subject up again perhaps more seriously. Japanese art, in decline in its own country, is taking new roots among French Impressionist artists. Its this practical side for artists that necessarily interests me more than the trade in japonaiseries. However, this trade is all the more interesting because of the direction that French art is tending to take. Write me a short line to tell me if the drawings reach you in good condition.

82 Vincent had asked Theo to let him have the name of the publisher before (see letter 630, n. 9). Le dessin pour tous, mthode Cassagne , with Cahiers dexercices progressifs, consisted of various series made up of a number of instalments of 16 pages each: tude du paysage, Fleurs et fruits, Figure, Animaux, Lornement, Genre, Abcdaire du dessin, Marme. In 1881, in other words when Van Gogh was familiar with it, Le dessin pour tous consisted of 61 instalments altogether; Lalphabet du dessin took up 32 instalments (Van Gogh says here that there were 100). At that time, the Guide de lalphabet du dessin cost six francs, as we learn from an advertisement in Cassagne83s Elments de perspective . Paris 1881 (cf. letter 214, n. 2). 84 There were five drawings in this batch: The rock of Montmajour with pine trees (F 1447 / JH 1503), Olive trees, Montmajour (F - / JH add. 3), Hill with the ruins of Montmajour Abbey (F 1446 / JH 1504), La Crau seen from Montmajour (F 1420 / JH 1501) and Landscape near Montmajour with a train (F 1424 / JH 1502). 85 Georges Thomas (pre Thomas) (?-after 1908) art dealer in Paris 86 Among the other drawings of the same size was, in any event, View of Arles from a hill (F 1452 / JH 1437), which was part of the set of drawings of Montmajour (see letter 639). In the same letter Van Gogh had suggested offering Thomas87 Seated Zouave (F 1443 / JH 1485) and The harvest (F 1483 / JH 1439) as well as the drawings he had sent. It is quite possible that he also counted Wheat stacks (F 1425 / JH 1441), mentioned in letter 635, together with this Harvest among the group of drawings for Thomas. All these works measure approx. 50 x 60 cm. 88 Paul (Eugne Henri) Gauguin (1848-1903) French artist 89 Siegfried Bing (1838-1905) dealer in oriental art in Paris