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Long-Lost Van Gogh Painting Discovered at Garage Sale

During his time at an asylum in France, Vincent van Gogh produced approximately 150 works, including iconic pieces such as Irises and The Starry Night. Among these, he created various interpretations of the works of other artists, referring to these as “translations.” As he described in correspondence with his brother, Theo, he viewed this process not as mere copying, but as a transformation into a different expressive medium centered on color.

The recent identification of a previously overlooked van Gogh translation—an oil painting of a smiling fisherman—has captured the attention of art experts. The piece was unknowingly purchased by an antiques collector at a Minnesota garage sale for less than $50.

Following the purchase, the collector sold this painting to LMI Group International, an art research firm, in 2019 for an undisclosed sum. Since acquiring the artwork, LMI’s researchers have conducted extensive analysis, culminating in a comprehensive 450-page report asserting it to be a genuine van Gogh.

Maxwell L. Anderson, the chief operating officer of LMI Group, described his initial encounter with the painting as both surprising and captivating, although he was initially cautious about its significance. The collector had been drawn to the painting’s distinctive impasto technique, characterized by its thick application of paint. The portrait itself features a white-bearded figure by the shore, engaged in mending a fishing net while smoking a pipe, with a contemplative expression evident on his downcast eyes and weathered face. Notably, the painting bears the signature “Elimar” in its bottom right corner.

Despite the absence of van Gogh’s customary vibrant palette, Anderson perceived subtle indications of a skilled artist at work. The presence of a hair embedded in the paint texture raised additional interest.

LMI Group’s analysis of Elimar integrated scientific examination with traditional methods of art appraisal, as highlighted by the firm’s chairman, CEO Lawrence M. Shindell. The researchers enlisted Jennifer Mass to evaluate the canvas’s materials. One pigment, geranium lake—known as PR-50—initially sparked skepticism, since earlier studies indicated it was patented post-van Gogh’s death in 1890. However, through diligent investigation, patent attorney Ben Appleton established an earlier patent from 1883 for this pigment, opening new avenues for dating and validating works that include this shade from the late 19th century.

Genetic testing of the embedded hair determined it belonged to an individual with red or reddish-brown hair, consistent with van Gogh’s appearance, as evidenced by his numerous self-portraits. Moreover, the lettering in the painting’s “Elimar” signature closely resembles the lettering found in van Gogh’s earlier works from 1885.

Curiouser still, why did van Gogh choose to sign this particular painting with a name rather than his own? Dr. Jennifer Mass and her team suggest that “Elimar” references a character from Hans Christian Andersen’s 1848 novel The Two Baronesses, one of the artist’s favored authors, indicating possible personal significance or thematic exploration for van Gogh.

Experts believe that van Gogh created Elimar in 1889, during his first year at a southern French sanitarium. The painting is thought to be a reinterpretation of Danish artist Michael Ancher’s depiction of fisherman Niels Gaihede, which resonated with both van Gogh and artist Paul Gauguin.

William Havlicek, an art historian associated with LMI Group, expressed a sense of vindication upon discovering Ancher’s work, confirming their hypothesis about the painting’s lineage and inspiration.

The investigation sheds new light on van Gogh’s artistic intent and his practice of interpreting the styles of fellow artists. Anderson interprets Elimar as a sort of spiritual self-portrait, enabling viewers to grasp how van Gogh wished to be perceived through his art.

LMI Group anticipates unveiling Elimar to leading van Gogh scholars and art dealers soon, estimating its market value at over $15 million. However, the painting’s attribution remains a topic of debate among experts, as the art community typically takes a cautious stance on newly attributed works.

“There’s a fascination with discoveries that elude detection for so long,” observes art authenticator Richard Polsky, who was not involved in the research. “But thorough validation is essential, particularly from esteemed scholars at the Van Gogh Museum.”

The Van Gogh Museum previously evaluated the painting when it was submitted by the anonymous buyer but did not recognize its authenticity at that time. Yet, the museum has not yet issued any response regarding the new findings.

Art specialist Robert Snell expressed keen interest in the details surrounding the painting’s journey, remarking, “Determining how this incredible piece surfaced at a garage sale in Minneapolis poses an intriguing mystery tied to its potential value.”

Source
www.smithsonianmag.com