to provenance research and its role in larger historical and cultural contexts, and as the French and their auction houses seem to have forgotten about the meaning of community and of humanity. Memory is an important human instrument but a flawed one indeed, particularly when it is embedded so deeply in ego and arrogance.

In 1904 Paul Cassirer, born in 1871 to an upper middle class family, displayed van Gogh’s Portrait of Dr. Gachet, at his Berlin Gallery, strategically situated next to other modern dealers such as Fritz Gurlitt, Keller & Reiner, and Schulte. Unlike other dealers, Cassirer had managed to establish a working connection with Johanna van Gogh-Bonger, mainly because he never argued with her high prices. Committed to introducing the French avant-garde in Germany, he had borrowednineteen canvases from Johanna van Gogh-Bonger in 1901 and organized Germany’s first substantial van Gogh exhibition. Cassirer sold The Portrait of Dr. Gachet to Count Harry Kessler who also bought Maurice Denis’ Mother and Child which Ballin had consigned at the same time as Dr. Gachet. Kessler paid Cassirer 3,378 German marks for both works.

The arrival of the Portrait of Dr. Gachet coincided with a transition period during which Berlin was replacing Munich as a primary market for contemporary art in Germany. Unlike other places the Berlin bourgeoisie had a liberal taste for the modern, and proved to be a perfect audience for van Gogh’s work. At the time that Kessler bought Dr. Gachet, there were altogether seven paintings by van Gogh’s in German private collections: Karl Osthaus,