Vincent van Gogh. Letter to his brother Theo. [April 20, 1888] [published in "The Complete Letters of Vincent van Gogh," 3 vols., Greenwich, Conn., 1958, vol. 2, p. 549, letter no. 478], writes that he now has ten paintings of orchards, "not counting three little studies, and one big one of a cherry tree, which I've spoiled" (possibly this picture).
Vincent van Gogh. Letter to Émile Bernard. [about April 20, 1888] [published in "The Complete Letters of Vincent van Gogh," 3 vols., Greenwich, Conn., 1958, vol. 3, p. 482, letter no. B4], describes a canvas of a cherry tree, which he "overdid" the day before (possibly this picture).
Moderne Kunstwerken 2, no. 14 (n.d.), ill., [see Ref. La Faille 1928].
J.-B. de La Faille. L'Oeuvre de Vincent van Gogh: Catalogue Raisonné. Paris, 1928, vol. 1, p. 157, no. 552; vol. 2, pl. 151, as "Verger".
W. Scherjon and Jos. De Gruyter. Vincent van Gogh's Great Period: Arles, St. Rémy and Auvers sur Oise (complete catalogue). Amsterdam, 1937, p. 54, Arles no. 22, ill., as "Cherry-Tree"; identify it as the work mentioned in letters 478 and B4 [see Refs. 1888].
J.-B. de La Faille. Vincent van Gogh. London, , pp. 401, 565, 578, 588, 591, no. 577, ill., as "The Orchard"; dates it April 1888.
W[ilhelm]. Uhde, and Ludwig Goldscheider. Vincent van Gogh. New York, 1941, pl. 19, as "Orchard," in the collection of H. P. Bremmer, The Hague; date it April 1888.
Theodore Rousseau Jr. "New Accessions of Paintings." Metropolitan Museum of Art Bulletin 14 (April 1956), p. 198, ill. p. 203, dates it April 1888.
Frank Elgar. Van Gogh: A Study of His Life and Work. New York, 1958, p. 110, no. 105, ill., as "Orchard," in the collection of H. P. Bremmer, The Hague; dates it April 1888.
August Kuhn-Foelix. Vincent van Gogh: Eine Psychographie. Bergen, Germany, 1958, p. 140, pl. 34, as "Geäst der Gartenbilder".
Charles Sterling and Margaretta M. Salinger. "XIX–XX Centuries." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 3, New York, 1967, pp. 182–83, ill.
J.-B. de La Faille. The Works of Vincent van Gogh: His Paintings and Drawings. Amsterdam, 1970, pp. 232, 525, 633, no. 552, ill., as "The Orchard: White Blossoms and Violet Branches"; dates it April 1888; identifies it as the spoiled work referred to in letter nos. 478 and B4 [see Refs. 1888]; states that it has the same composition as F1516 (The Hyde Collection, Glens Falls, New York), a drawing of an orchard with the towers of Arles in the background.
Paolo Lecaldano. "Da Arles a Auvers." L'opera pittorica completa di Van Gogh e i suoi nessi grafici. 2, repr. [1st ed., 1966]. Milan, 1971–77, p. 205, no. 488, ill., as "Frutteto in fiore"; dates it April 1888.
Matthias Arnold. "Duktus und Bildform bei Vincent van Gogh." PhD diss., Ruprecht-Karl University, Heidelberg, 1973, p. 193 n. 371.
Carl R. Baldwin The Metropolitan Museum of Art. The Impressionist Epoch. [New York], 1974, p. 21.
Jan Hulsker. The Complete Van Gogh: Paintings, Drawings, Sketches. [1st ed., Amsterdam, 1977]. New York, 1980, pp. 310, 313, no. 1381, ill., as "Orchard with White Blossoms"; believes this to be one of five paintings of orchards not mentioned in Van Gogh's letters, and dates this group to the last week of March 1888.
Ronald Pickvance. Van Gogh in Arles. Exh. cat., The Metropolitan Museum of Art. New York, 1984, pp. 45, 48, 61, no. 9, ill. (color), expresses doubt that this is the spoiled work referred to in letter nos. 478 and B4 [see Refs. 1888]; believes it to depict the same orchard shown in the drawing "Orchard with Arles in the Background" (F1516; The Hyde Collection, Glens Falls, New York); states that the painting was sent to Theo in early May 1888.
Walter Feilchenfeldt. Vincent van Gogh & Paul Cassirer, Berlin: The Reception of Van Gogh in Germany from 1901 to 1914. Zwolle, The Netherlands, 1988, pp. 103, 149.
Susan Alyson Stein in Treasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century. Exh. cat., Yokohama Museum of Art. [Tokyo], 1989, p. 153, no. 98, ill. (color), gives early provenance of the picture.
Roger Hurlburt. "Free Spirits." Sun-Sentinel (Fort Lauderdale) (December 20, 1992), p. 4D, ill.
Helen Kohen. "Lasting Impressions." Miami Herald (December 20, 1992), p. 6I.
Matthias Arnold. Vincent van Gogh: Werk und Wirkung. Munich, 1995, p. 408–9.
Jan Hulsker. The New Complete Van Gogh: Paintings, Drawings, Sketches. rev. ed. Amsterdam, 1996.
Hildelies Balk in The Paintings of Vincent van Gogh in the Collection of the Kröller-Müller Museum. Otterlo, 2003, pp. 430, 436.
Walter Feilchenfeldt. By Appointment Only: Cézanne, Van Gogh and Some Secrets of Art Dealing. English ed. London, 2006, p. 298, ill. p. 299 (color), as "The Orchard in Blossom"; dates it to April 1889 and argues that it was one of seven paintings made in Arles that spring; contends that Van Gogh left these paintings behind when he moved to St. Rémy and then retrieved them on 9 July 1889, sending them to Theo on 15 July 1889, along with the first paintings made in St. Rémy.
Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 147, 218, no. 108, ill. (color and black and white), dates it among the fourteen paintings of flowering fruit trees executed between late March and late April 1888.
Marije Vellekoop, and Roelie Zwikker, with the assistance of Monique Hageman. "Arles, Saint-Rémy & Auvers-sur-Oise, 1888–90." Vincent van Gogh, Drawings. 4, Zwolle, The Netherlands, 2007, part 1, p. 56 n. 1.
Nienke Bakker in The Real Van Gogh: The Artist and His Letters. Exh. cat., Royal Academy of Arts. London, 2010, p. 196.
Teio Meedendorp in The Real Van Gogh: The Artist and His Letters. Exh. cat., Royal Academy of Arts. London, 2010, p. 207, no. 114, ill. pp. 206, 209 (color, overall and detail), dates it April 1888, calling it perhaps the last of the series of fourteen flowering orchard paintings; suggests that it depicts plum and apple trees; based on the similar drawing (Hyde Collection, Glen Falls, New York; F1516), identifies this site as south of Arles, near the ancient Roman remains of Les Alyscamps.