Jean-François Millet. Letter to Monsieur [Frédéric] Hartmann. February 18, 1873 [published in Alfred Sensier, "La Vie et l'oeuvre de J.-F. Millet," Paris, 1881, p. 356 and in English in Julia Cartwright, "Jean François Millet: His Life and Letters," New York, 1902, p. 336], describes this painting, which he hopes to finish and deliver to Durand-Ruel in the following week.
J. Dupont. Letter to Ph. de Chennevières. May 14, 1875 [excerpt published in Ref. Herbert 1976, p. 215], offers this picture, which he calls "Gardeuse de dindons," for Fr 30,000 to the Director of Fine Arts for the collection of the Louvre.
E[mile]. Durand-Gréville. "La Peinture aux États-Unis: Les Galeries privées (1er article)." Gazette des beaux-arts, 2nd ser., 36 (July 1887), p. 73.
John W. Mollett. The Painters of Barbizon: Millet, Rousseau, Diaz, Corot, Daubigny, Dupré. London, 1895, pp. 116, 119, as "Turkeys"; lists an etching by Vallotton.
Isaac D. Fletcher. Letter to Mrs. Henry Hornblower. May 1, 1899, calls it "The Turkey Herder"; notes that it depicts the same plain outside Barbizon with the same church in the distance that is represented in "The Angelus" (1857–59; Musée d'Orsay, Paris).
Louis Soullié. Peintures, aquarelles, pastels, dessins de Jean-François Millet relevés dans les catalogues de ventes de 1849 à 1900. Paris, 1900, pp. 51–52, as "L'Automne".
Paul Durand-Ruel. Mémoires de Paul Durand-Ruel. 1911–12 [published in Lionello Venturi, "Les Archives de l'impressionnisme," Paris, 1939, vol. 2, p. 185], calls it "La Gardienne de dindons"; notes that he received this picture from Millet and that it was later in the collection of Mr. Dana.
Eliot Clark. "The Fletcher Collection at the Metropolitan Museum: The Landscapes." Art World and Arts & Decoration 9 (August 1918), pp. 207, 209.
"The Mr. and Mrs. Isaac D. Fletcher Collection." Metropolitan Museum of Art Bulletin 13 (March 1918), p. 60, as "Autumn".
Robert L. Herbert. Letter to Mrs. Leonard Harris. January 19, 1962, describes six drawings for this picture seen at the Leicester Galleries, London, in 1961; dates the painting about 1870–74 and the sketches about 1868–70.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, pp. 91–93, ill., suggest a date between 1870 and 1874.
Anne Reverdy. L'École de Barbizon: Évolution du prix des tableaux de 1850 à 1960. Paris, 1973, pp. 22–23.
Robert Herbert. Jean-François Millet. Exh. cat., Hayward Gallery. [London], 1976, pp. 214–15, no. 145, ill. [French ed., Paris, 1975, pp. 290–91, no. 242, ill.], dates it 1872–73, noting that the canvas may have been begun in 1868–70 when Millet appears to have made some of the preparatory drawings; identifies the village in the background as Chailly and the tower in the center as a ruin that was used as an open-air furnace.
Lydie Huyghe in René Huyghe. La Relève de l'imaginaire. La Peinture française au XIXe siècle: Réalisme, romantisme. Paris, 1976, p. 467.
André Fermigier. Jean-François Millet. New York, 1977, pp. 129–30, 133, ill. p. 128 (color) [French ed., Geneva, 1977, pp. 124, 127, ill. (color)].
Sarah Burns. "A Study of the Life and Poetic Vision of George Fuller (1822–1884)." American Art Journal 13 (Autumn 1981), p. 30, mentions it as a precedent in Barbizon art for Fuller's turkey herders.
Maureen C. O'Brien in Maureen C. O'Brien. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition. Exh. cat., Parrish Art Museum. Southampton, N.Y., 1986, pp. 24, 36, 39, 96, 170–71, no. 64, ill. p. 171 and colorpl. XXXII, dates it about 1870–74.
Ronald G. Pisano in Maureen C. O'Brien. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition. Exh. cat., Parrish Art Museum. Southampton, N.Y., 1986, p. 69.
Gary Tinterow et al. Capolavori impressionisti dei musei americani. Exh. cat., Museo di Capodimonte, Naples. Milan, 1987, pp. 64–65, no. 27, ill. (color).
Michael Brenson. "French Landscape Painting, The Seed of Impressionism." New York Times (August 2, 1991), p. C22.
Roger Hurlburt. "Free Spirits." Sun-Sentinel (Fort Lauderdale) (December 20, 1992), p. 4D.
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. 41, 235, no. 21, ill. (color and black and white).
Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 49, 276–77, no. 46, ill. (color and black and white).
Simon Kelly in Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market. Ed. Sylvie Patry. Exh. cat., Musée du Luxembourg, Paris. London, 2015, pp. 70–71, 275 n. 45 [French ed., "Paul Durand-Ruel: le Pari de l'Impressionnisme," Paris, 2014, pp. 57, 218 n. 45], notes that Durand-Ruel bought it from Millet in May 1872 for Fr 12,300 and that he sold it to Mélas on March 8, 1873, for Fr 30,000 (citing Durand-Ruel stock 1868–1873, no. 2592).