Jane Abdy. J. J. Tissot: Etchings, Drypoints and Mezzotints. Exh. cat., Frederick Mulder in assoc. with Jane Abdy at Bury Street Gallery. London, 1981, unpaginated (Introduction and under no. 1), calls it an oil sketch for the print; notes that it includes greater detail in the area of the house than the drypoint.
Krystyna Matyjaszkiewicz in James Tissot. Exh. cat., Barbican Art Gallery Gallery, London. Oxford, 1984, pp. 73, 116 under no. 90, notes that the striped tunic in this picture also appears in "Holyday" (about 1876; Tate, London) and "Waiting for the Train" (Dunedin Public Art Gallery, New Zealand), as well as in the etching "Woman at a Window" (about 1875; impression in the Bibliothèque Nationale, Paris).
Harley Preston in James Tissot. Exh. cat., Barbican Art Gallery, London. Oxford, 1984, pp. 56–57, 60, fig. 23, notes that it served as the basis for one of Tissot's earliest engraved japoniste subjects, the drypoint "Matinée de printemps" (1875), adding that it may be the first instance in which Tissot engraved from his own painting, although the print reverses the composition; compares the vertical format to Chinese or Japanese hanging scrolls; identifies the same flowering rhubarb plant in "The Widower" (1876; Art Gallery of New South Wales, Sydney).
Gary Tinterow and Asher Ethan Miller in The Wrightsman Pictures. New York, 2005, pp. 404–6, no. 115, ill. (color), state that this composition was only known through a related etching for a century before the reappearance of the painting at auction in 1981; comment that although this setting may be Tissot's own garden or an invented one, the specificity of the flora suggests spring, perhaps April or May; note that it may be the earliest depiction of the artist's companion, Kathleen Newton.