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Chapters (48)
  1. PART ONE The Door of Death
  2. 1. London
  3. 2. Jerusalem
  4. 3. Jerusalem
  5. 4. Vatican City
  6. 5. Vatican City
  7. 6. Vatican City
  8. 7. Rome
  9. 8. Venice
  10. 9. Jerusalem
  11. PART TWO Dr. Gachet’s Daughter
  12. 10. Ein Kerem, Jerusalem
  13. 11. London
  14. 12. Tel Megiddo, Israel
  15. 13. London
  16. 14. The Marais, Paris
  17. 15. The Marais, Paris
  18. 16. McLean, Virginia
  19. 17. Georgetown
  20. 18. London
  21. 19. London
  22. 20. London
  23. 21. London
  24. PART THREE The Night Journey
  25. 22. Harbor Island, Bahamas
  26. 23. Off the Bahamas
  27. 24. Gustavia, Saint-Barthélemy
  28. 25. Gustavia, Saint-Barthélemy
  29. 26. Pointe Mangin, Saint-Barthélemy
  30. 27. Gustavia Harbor, Saint-Barthélemy
  31. 28. CIA Headquarters
  32. 29. Off Saint Maarten
  33. 30. Saint Maarten
  34. 31. Kloten, Switzerland
  35. 32. Zurich
  36. 33. Zug, Switzerland
  37. 34. Canton Uri, Switzerland
  38. 35. Canton Uri, Switzerland
  39. 36. Zug, Switzerland
  40. 37. Vatican City
  41. 38. Rome
  42. PART FOUR The Witness
  43. 39. Washington
  44. 40. Tiberias, Israel
  45. 41. Paris: August
  46. 42. Istanbul: August
  47. AUTHOR’S NOTE
  48. ACKNOWLEDGMENTS

“The day before Vincent shot himself, he came to Gachet’s house. The two quarreled violently, and Vincent threatened Gachet with a gun. What was the reason for the argument? Gachet later claimed that it had something to do with a picture frame, of all things. I believe it was over Marguerite. I think it’s possible it had something to do with Marguerite Gachet at Her Dressing Table. It’s an exquisite work, one of Vincent’s better portraits. The pose and the setting are clearly representative of a bride on her wedding night. Its significance would not have been lost on a man like Paul Gachet. If he’d seen the painting—and there’s no reason to believe he didn’t—he would have been incensed. Perhaps Gachet told Vincent that marriage to his daughter was out of the question. Perhaps he forbade Vincent ever to paint Marguerite again. Perhaps he forbade Vincent ever to see Marguerite again. What we do know is that Marguerite Gachet wasn’t present at Vincent’s funeral, though she was spotted the next day tearfully placing sunflowers on his grave. She never married, and lived as something of a recluse in Auvers until her death in 1949.”

They passed the entrance to Isherwood’s gallery and kept walking.

“After Vincent’s death his paintings became the property of Theo. He arranged for a shipment of the works Vincent had produced at Auvers and stored them at Père Tanguy’s in Paris. Theo, of course, died not long after Vincent, and the paintings became the property of Johanna. None of Vincent’s other relatives wanted any of his work. Johanna’s brother thought them worthless and suggested they be burned.” Isherwood stopped walking. “Can you imagine?” He propelled himself forward again with a long stride. “Johanna catalogued the inventory and worked tirelessly to establish Vincent’s reputation. It’s because of Johanna that Vincent van Gogh is regarded as a great artist. But there’s a glaring omission in her list of Vincent’s known works.”

“Marguerite Gachet at Her Dressing Table.”

“Precisely,” said Isherwood. “Was it an accident or intentional? We’ll never know, of course, but I have a theory. I believe Johanna knew that the painting may have contributed to Vincent’s death. Whatever the case, it was sold for a song from the storeroom at Père Tanguy’s within a year or so of Vincent’s death and never seen again. Which is where my father enters the story.”

THEY COMPLETED THEIR first circuit of the yard and started a second. Isherwood’s pace slowed as he began to talk of his father.