was working on three paintings simultaneously and intended to do more, as he explained to his brother: "in the hope of living in a studio of our own with Gauguin, I'd like to do a decoration for the studio. Nothing but large sunflowers". Leaving aside the first two versions, all Arlesian Sunflowers are painted on size 30 canvases. The initial versions, August 1888 The versions of the paintings provided by Van Gogh in his announcement of his sunflower series do not precisely match every detail supplied by him. The first version differs in size, is painted on a size 20 canvas—not on a size 15 canvas as indicated—and all the others differ in the number of flowers depicted from Van Gogh's announcement. The second was evidently enlarged and the initial composition altered by insertion of the two flowers lying in the foreground, center and right. Neither the third nor the fourth shows the dozen or 14 flowers indicated by the artist, but more—fifteen or sixteen. These alterations are executed wet-in-wet and therefore considered genuine rework—even the more so as they are copied to the repetitions of January 1889; there is no longer a trace of later alterations, at least in this aspect. The fourth version of the painting was attacked on October 14, 2022 by environmental activists from the Just Stop Oil campaign, who threw tomato soup at it, while it was on display at National Gallery in London, before gluing their hands to the wall. The painting was covered with plexiglass, and it was unharmed with the exception of minor damage to the frame. The two activists were arrested and the painting was put back on display later that day. The Repetitions, January 1889 Both repetitions of the 4th version are no longer in their original state. In the Amsterdam version, a strip of wood was added at the top—probably by Van Gogh himself. The Tokyo version, however, was enlarged on all sides with strips of canvas, which were added at a later time—presumably by the first owner, Émile Schuffenecker. The series is perhaps Van Gogh's best known and most widely reproduced. In the 2000s, debate arose regarding the authenticity of one of the paintings, and it has been suggested that this version may have been the work of Émile Schuffenecker or of Paul Gauguin. Most experts, however, conclude that the work is genuine. The Berceuse-Triptych In January 1889,