Camille Pissarro. Letter to Bernheim-Jeune. March 15, 1903 [published in Ref. Bailly-Herzberg 1991, p. 326, no. 2009], states that he is sending three paintings to Bernheim-Jeune, including "Jardin à l'Hermitage, Pontoise," possibly this picture.
R. M. "Petites expositions: Exposition d'Impressionnistes." Chronique des arts et de la curiosité, supplément à la Gazette des beaux-arts no. 14 (April 4, 1903), p. 111 [possibly this picture; see Ref. Snollaerts 2005].
Hans Rosenhagen. "Von Ausstellungen und Sammlungen." Die Kunst für Alle 21 (April 19, 1906), p. 357.
Julius Meier-Graefe. Impressionisten. 2nd ed. Munich, 1907, ill. p. 159.
A. Tabarant. Pissarro. London, 1925, pl. 16.
Alfred M. Frankfurter. "Panorama of a Great Decade: 'The 1870s'." Art News 37 (December 3, 1938), pp. 12–13, ill.
Ludovic Rodo Pissarro and Lionello Venturi. Camille Pissarro, son art—son œuvre. reprint ed. 1989. Paris, 1939, vol. 1, p. 116, no. 257; vol. 2, pl. 51, no. 257.
John Rewald. The History of Impressionism. New York, 1946, p. 260, ill., erroneously states that it was shown at the first Impressionist exhibition.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 16–18, ill., remark that its loose and free brushstroke suggests foliage and that the strolling figures are in the style of the early Impressionists, and related especially to Monet.
Anne Distel Dayez. Centenaire de l'impressionnisme. Exh. cat., Galeries Nationales du Grand Palais. Paris, 1974, p. 250, suggests that this painting was included in the 1st Impressionist exhibition in 1874 as no. 139 [see Refs. Pissarro and Venturi 1939 and Snollaerts 2005].
Paul Tucker in The New Painting: Impressionism 1874–1886. Ed. Charles S. Moffett. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, p. 122, tentatively identifies it as no. 139 in the first Impressionist exhibition of 1874.
Richard R. Brettell with Joachim Pissarro. Pissarro and Pontoise: The Painter in a Landscape. New Haven, 1990, pp. 49, 130, 209 n. 21, fig. 41 (color) and colorpl. 122 (detail), erroneously as in a private collection.
Janine Bailly-Herzberg. Correspondance de Camille Pissarro, 1899–1903. Vol. 5, Saint-Ouen-l'Aumône, 1991, p. 327 n. 2, identifies it as possibly one of the works Pissarro lists in a letter to Bernheim-Jeune as being sent for their exhibition of Impressionist paintings [see Ref. Pissarro 1903 and Exh. Paris 1903].
Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and Other Important French Paintings Preserved by the State Hermitage Museum, St. Petersburg. Exh. cat.New York, 1995, pp. 156–58, ill., erroneously as still in a private collection, Honolulu.
Ruth Berson, ed. "Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol. 2, p. 12, no. I-139, ill. p. 27, identifies it as no. 139 in the first Impressionist exhibition, noting, however, that Ref. Pissarro and Venturi 1939 identify the same painting as "The Municipal Garden, Pontoise" (State Hermitage Museum, St. Petersburg) [see Ref. Snollaerts 2005].
Claire Durand-Ruel Snollaerts in Joachim Pissarro and Claire Durand-Ruel Snollaerts. Pissarro: Critical Catalogue of Paintings. Milan, 2005, vol. 1, pp. 365–67, 375, 382, 391, 394, 396; vol. 2, pp. 213, 244, 267, no. 347, ill. (color); vol. 3, pp. 953, 956, calls it "The Municipal Garden, Pontoise"; notes that Pissarro painted the same park one year earlier in a painting of the same name (State Hermitage Museum, St. Petersburg).
Alexia de Buffévent in Joachim Pissarro and Claire Durand-Ruel Snollaerts. Pissarro: Critical Catalogue of Paintings. Milan, 2005, vol. 1, p. 313, states that it may have been exhibited by Bernheim-Jeune in 1903.
Katherine Rothkopf. Pissarro: Creating the Impressionist Landscape. Exh. cat., Baltimore Museum of Art. London, 2006, pp. 59, 63.
Gülru Çakmak in Katherine Rothkopf. Pissarro: Creating the Impressionist Landscape. Exh. cat., Baltimore Museum of Art. London, 2006, pp. 88, 186–89, no. 49, ill. (color, overall and detail), notes that it introduced a new theme of urban leisure in Pissarro's work; discusses its innovative approach to pictorial space, reflecting the influence of Japanese woodblock prints; suggests that it was meant to be a pendant to the work in the Hermitage.
Clare A. P. Willsdon. Impressionist Gardens. Exh. cat., National Gallery of Scotland, Edinburgh. London, 2010, pp. 80, 157–58, no. 51, ill. (color).