Chapter 15: "A hand lifted the velour to reveal a Van Gogh drawing so fine that the only improvement it could make would be to turn itself into a painting. It showed Van Gogh's finest landscape subject, wheat fields being harvested by workers loading wheat into a hay wain."
[Note: The work in question is a watercolour, not a drawing.]
Chapter 19: "The brunette leaned the two paintings on either side of the Van Gogh on the floor, giving the gouache breathing room. The director turned to Talley. 'Do you know this picture?'
The sujbect was a green boat on yellow sand next to a blue sea, eighteen by twenty-four inches, under glass. 'Of course I know the painting, but I didn't know there was a gouache. It's wonderfully fresh,' said Talley, standing and examining it. Lacy came close. The signature 'Vincent,' made her feel that the artist was nearby, that his brush had just lifted off the paper."
[Note: A character in Martin's book says that this work was seized from the Germans during the war and that it was to be returned. The work, however, is still in the collection of the Hermitage.]
