t and weave pattern to identify canvases cut from the same bolt.[1] Analysis of the canvas of Self-Portrait with a Straw Hat (reverse: The Potato Peeler) shows that it comes from the same bolt as seven other paintings by the artist, dating from 1885 to 1887, and that the canvases of two of these paintings are weft matches.[2] Charlotte Hale 2019 [1] See D.H. Johnson, C.R. Johnson, Jr., and E. Hendriks, “Automated thread counting” and E. Hendriks et al., "Automated Thread Counting and the Studio Practice Project," Van Gogh's Studio Practice, edited by M. Vellekoop, M. Geldof, E. Hendriks, L. Jansen, and A. de Tagle, Brussels, 2013, pp. 142–81. [2] The report, dated August 2011, on the automated thread counting of Self-Portrait with a Straw Hat (reverse: The Potato Peeler) was prepared by Don H. Johnson, J.S. Abercrombie Professor Emeritus, Rice University, Dept. of Electrical & Computer Engineering, of The Thread Count Automation Project; Don H. Johnson, The Thread Count Automation Project, “Counting Van Gogh; Thread Count Reports List," February 2019. Department of Paintings Conservation records, The Metropolitan Museum of Art.22:T570,Neither signed nor dated, this marble bust of a man with a bare chest is a self-portrait of the Neoclassical sculptor Philippe-Laurent Roland. The subject’s profile matches that in a medallion of Roland executed by his pupil Pierre-Jean David d’Angers (1788–1856). Furthermore, the bust remained in the possession of members of the Roland family. Dating to about 1785, when the sculptor was nearly forty years of age and at the height of his powers, the portrait, though austere, shows a lean man with intelligent, well-knit features and a direct gaze. David d’Angers, who wrote a biography of his teacher, remembered Roland as a man of average height and with a high-strung disposition: His "ruddy complexion revealed a sanguine character but with a predominantly nervous aspect. . . . His eyes were lively and penetrating like th

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